391 Sentences With "fretwork" | Random Sentence Generator

All the trancelike drones and the clever fretwork, she'd fashioned after her father.

Manhattan's only remaining lighthouse, the Little Red Lighthouse, beckons through a thick fretwork of branches.

He'd slipped off his shoes and socks and now clung to the metal fretwork by his toes.

Natural forms move from realistic to stylized to abstracted or from fully dimensional to relief to pierced fretwork.

The Gothic-style windows are topped by wooden fretwork carved by Jamaican artisans, backed with mosquito mesh to allow ventilation.

For his latest, his lead backing band, the 400 Unit, lets loose with heavy riffs, raucous drums, and nimble fretwork.

The Fretwork group has commissioned living composers since the 1980s, including George Benjamin, Elvis Costello, Thea Musgrave and John Tavener.

But then he discovered Django Reinhart, whose masterful, two-fingered fretwork motivated him to find a way to overcome his injury.

The sound of tires rolling over tarmac isn't just the rare force known to diminish the power of Tom Shulz's fretwork.

But when a collection using concrete didn't sell well, she began to work with gold-plated silver cut into elaborate fretwork designs.

Gingerbread fretwork gives it a quaint charm, as does the rustic wall of native stone, speckled with seashells, that surrounds the property.

And in the Nels Cline 4 — a new band that's just released its debut album, "Currents, Constellations" — his sterling fretwork is the big attraction.

A window cut high in one wall, overlooking the adjacent great room, is filled with delicate fretwork, including a border made of fylfot, or ancient swastika, symbols.

That's Campbell's fretwork on the Beach Boys' "Good Vibrations" and "Help Me Rhonda," Sinatra's "Something in the Night" and Elvis Presley's "Viva Las Vegas," among hundreds of recordings.

His fretwork was spidery and brisk, and at times his band seemed to be evoking the onrushing tilt of a hiccuping funk sample, racing along the far edge of control.

Your eyes leap up, and turn left, and then there's a sort of guitar fretwork that you must navigate, which seems to have been made with the help of a ruler.

Though there are wall-mounted air-conditioning units and ceiling fans in the bedrooms, the trade winds sweeping through the fretwork walls and open shutters keep the villa cool, Mr. Zephirin said.

To the right is a switchback three-story staircase with hand-carved newel posts and floral fretwork; there is also a wood-paneled elevator with a seat and an old-fashioned phone.

The original wooden fretwork of the first-floor gallery could be reconfigured into further bedrooms or seating areas, but the overall space must remain as it is, owing to the building's protected heritage status.

Lindsey Buckingham, the guitar virtuoso whose prolific songwriting and precision fretwork helped launch Fleetwood Mac into the rock stratosphere as one of the best-selling acts in history, is reportedly out of the group.

"Exalted," wholly, is an anomalous entity able to embody both the darkness and the light, nobly reminiscent of the impressions forged by Page's 12-string fretwork and Branca's grandiose guitar symphonies: empyrean, staggering, unfathomable.

His latest record, the mini-LP The Beyond / Where the Giants Roam is out today, and the lead single "Song for the Dead" is a great slice of cosmic, jazzy R&B full of Thundercat's typically amazing fretwork.

Constructed of wood and local stone with cedar shingles and embellished with gingerbread trim and hand-carved fretwork, the roughly 1,600-square-foot, two-story house sits on the banks of the Blue Hole, a mineral spring near the Roaring River.

A grande dame with a rounded front porch embellished with fretwork, gingerbread trim and a fanciful wrought-iron railing, it was once part of a waterfront estate; today, much of the property has been sold and other homes built nearby.

As I watch them onstage that first night in New York, an old man in his fifties moshes on the front row as Holman stands behind his drumkit and smashes the shit out of it while Vincent's imposing fretwork sends the crowd into a frenzy.

In one of the most striking locales, an open-air throne room is horizontally lined with suspended tree limbs, creating a loose pattern that pointedly blurs the divide between the interior and exterior worlds and is echoed by the fretwork in costumes and other sets.

Here's what Hutchinson's version of timelessness, handed down, to some extent, from the great Caribbean poet Derek Walcott, sounds like: Noon ictus cooling the veranda's fretwork, the child sits after his harp boning burlesque in the bower, his slit of gulls' nerves silenced into hydrangea.

However, much of the rest of the villa consists of either fretwork walls of Guyanese pitch pine or demerara shutters, which are louvered, hinge at the top and prop open, said Walter Zephirin, a managing director of Seventh Heaven Properties, a real estate agency specializing in the Caribbean that has the listing.

After this experiment with the doodles on his thigh, Kelly developed a fascination with authentically "transcribing" the designs and structural essences of other random, found objects: the fronds and lamina of seaweed; the shell of a bombed-out bunker; a sundial on a rooftop; a monstrance from an illuminated manuscript; the fretwork of window frames.

During his brief, blazing time in the spotlight — just seven years passed between the acclaimed debut album that gives this book its title and the 1990 helicopter crash that killed him at age 35 — Vaughan seemed to represent the culmination of the guitar hero era, absorbing the influences of masters from B.B. King to Lonnie Mack to (especially) Jimi Hendrix and spinning them into endlessly inventive, laser-sharp fretwork.

A common misconception is that fretwork must be done with a fretsaw. However, a fretwork pattern is considered a fretwork whether or not it was cut out with a fretsaw. Computer numerical control (CNC) has brought about change in the method of timber fretwork manufacture. Lasers or router/milling cutting implements can now fashion timber and various other materials into flat and even 3D decorative items.

The term is also used for tracery on glazed windows and doors. Fretwork is also used to adorn/decorate architecture, where specific elements of decor are named according to their use such as eave bracket, gable fretwork or baluster fretwork, which may be of metal, especially cast iron or aluminum. Fretwork patterns originally were ornamental designs used to decorate objects with a grid or a lattice. Designs have developed from the rectangular wave Greek fret to intricate intertwined patterns.

Fretwork is an interlaced decorative design that is either carved in low relief on a solid background, or cut out with a fretsaw, coping saw, jigsaw or scroll saw. Most fretwork patterns are geometric in design. The materials most commonly used are wood and metal. Fretwork is used to adorn furniture and musical instruments.

Electric fans have been installed in some of the rooms and wired up through the ceiling roses. Above the internal doors are decorative timber fretwork panels. The pattern is very similar to the fretwork in Osler House and similar to fretwork attributed to Benjamin Toll that is found also in Charters Towers. Floors throughout are 6in wide hoop pine.

Florones are distinguished with a large floral pattern in the center surrounded by fretwork. Guirnaldas also have the large floral center but is surrounded by fretwork and foliage. Escudos have coats- of-arms painted among fretwork, related to the family that ordered the piece. Ramilletes also have coats-of-arms but is the most Baroque in style, with more opulent colors.

If the screen is made from cutouts of wood, the term fretwork is also used.

The ceiling is intact, with two decorative fretwork vents. The floor is covered with carpet.

1 on the Megatrax Production Music Inc. label. In 2008, Tarquin released Fretwork for nuGroove Records.

At the point where residential levels start, the atrium expands out and creates an opening in the canal elevation of the cube's facade. The opening will hold a large fretwork of various shapes of various sizes, constructed out of steel box sections. These were then covered with a cladding system consistent with that used along the exterior. Along the top of the fretwork will be a fabricated truss section, composed of four pieces, that will provide lateral stability in the fretwork.

Fretwork valance The Chalet is a prefabricated single storey residence with Baltic timber walls, sandstone rubble foundations and a hipped slate roof. Its wide front verandah runs across the front (south) with a decorative fascia and a valence of fretwork behind, commanding a harbour view of the Parramatta River. The balustrade is also of timber, again with fretwork. A paved verandah where Nora Heysen often worked occurs to the rear (north) of the house, which is on a similar level to the lawn.

Mudiao fretwork Mudiao sculpture with gold foil Mudiao is traditional Chinese wood-carving, a form of sculpture, and is still practiced today. Mudiao is characterised by detailed fretwork, and is sometimes covered with gold foil. Mudiao products include chests, furniture, screens and even buildings. Chippendale was strongly influenced by mudiao work.

Woodwork includes cherry and oak pocket doors, mosaic wood flooring, carved banisters, and carved fretwork above the grand staircase.

Centrally placed in many of the internal rooms are decorative timber fretwork panels. Several fine fireplaces survive throughout the building.

A large number of houses in Agiasos are decorated with old furniture (mainly chests) which are decorated with carved fretwork designs. During the postwar times, Dhimitris Kamaros, the grandson of a wood-carver, carried on this trade. His carved fretwork became famous not only on the island but all over Greece and abroad. Most of today’s young carvers were his apprentices.

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.

It was designed by Richardsonian Romanesque student James T. Steen and is faced with Hummelstown brownstone.Advertising Booklet published by the Hummelstown Brownstone Co. p.27, circa 1907 Design elements include intricate carvings, semicircular arched windows, crescent apse and moorish fretwork. The Amelia S. Givin Free Library "contains the most extensive and most elaborate installation of moorish fretwork still in existence today".

Walls, friezes and tombs are decorated with mosaic fretwork. In some cases, such as in lintels, these stone “tiles” are embedded directly into the stone beam. The elaborate mosaics are considered to be a type of “Baroque” design, as the designs are elaborate and intricate, and in some cases cover entire walls. None of the fretwork designs is repeated exactly anywhere in the complex.

Moulded cornices are consistent throughout. Ceilings are tongue and groove boarding. Circular fretwork vents are central to five existing ceilings. An unpainted brick fireplace remains in seasonal use.

The northern wall includes a 12th-century Romanesque window with chevrons on its arch and sides. The south wall features 4 windows, one decorated with fretwork and another with spirals.

At the west of the building, in the loading-dock addition, is the former courtroom. It, too, has Doric pilasters, crosetted windows with grilles and stylized fretwork on its metal vents.

The often austere exterior facades typically hide a wealth of richly designed entries with carved fretwork; built-in hall benches, mirrors and bookcases; wood paneling; stained-glass windows and elaborate staircases.

Bricks used in the kitchen house and internal walls were probably manufactured locally, Lutwyche-Windsor being an early brickmaking centre. The front features twin projecting gables, each with a circular louvred vent in the gable end, plain bargeboards, timber console brackets, fretwork infill, finial and pendant. It is unified by a full-length verandah resting on brick piers. This is shaded by a convex corrugated iron roof supported by timber posts with capitals and fretwork brackets.

In 2002, she donated works to the Universidad de Paraiba in Brazil as part of a cultural exchange program between Mexico and that country. Her art often reflects her Oaxacan and indigenous heritage. La geometría y la greca was a series of paintings revolving around the use of fretwork in Mesoamerican architecture, textiles and more. Mesoamerican fretwork played an important role in the 2012 exhibit called “Huevos al gusto” (Eggs to order) at the Benemérita Universidad Autónoma de Puebla.

To the right of the presbytery, there is a realistic sculpture of the chapel's benefactor, Father Buenaventura de Medina Picazo. The upper choir area has a rectangular iron railing and also has the appearance of an altarpiece. Acanthus leaves are used to form the fretwork containing a series of medallions bearing the anagrams of the "Five Persons": Jesus, Mary, Joseph and Mary's parents Joaquín and Ana. The railing is surrounded by moulding that appears to thread through the fretwork.

A balustrade encircles the roof's edge and is punctuated by a pediment with a cartouche above the south entrance. Interior decorations include Doric columns, fretwork floor tiles, Roman-style grilles, and architrave trim.

On a wall are the remains of painted texts. Also in the church are a 19th-century fretwork screen, and communion rails with balusters. The font is medieval with an 18th-century cover.

This panel is decorated with fretwork depicting an elliptical radiant sun motif surrounded by a floral pattern. Blue felt fabric is fixed to the rear of the panel and shows through the openings in the fretwork. On top of this is a book rest inclined at approximately twenty degrees and finished in blue felt fabric. Two shorter square section posts are set back from the front of the platform about one metre from each side of the central section of the pulpit.

Close up of some of the fretwork Ancient frescos in Mitla The main distinguishing feature of Mitla is the intricate mosaic fretwork and geometric designs that profusely adorn the walls of both the Church and Columns groups. The geometric patterns, called grecas in Spanish, are made from thousands of cut, polished stones that are fitted together without mortar. The pieces were set against a stucco background painted red. The stones are held in place by the weight of the stones that surround them.

Since purchase, the property has been extensively restored including underpinning, all verandahs replaced, complete replacement of the back wall which had been eaten-out by white ants, gutters replaced, all new antique 1800s lights/chandeliers installed, painted, cedar restored, and grounds landscaped. The residence was originally brick, and was rendered after 1919. The billiard room, on the southern side, has been relocated. The original fretwork on the front portico is missing, the current fretwork being copied from another residence, Lakemba, at 14 Chelmsford Avenue, Ipswich.

With Fretwork, he recorded 31 albums, and also performed on film soundtracks including Coffee and Cigarettes and The Da Vinci Code. Fretwork is known for its global touring and, as well as performances of early music, commissioning new compositions for viol consort. Campbell was Professor of viola da gamba and violone at the Royal Academy of Music. As a gamba soloist he has been associated since 1981 with Sir John Eliot Gardiner's English Baroque Soloists and their performances and recordings of J. S. Bach and François Couperin.

St Helen's Park is an elaborate two storey neo Gothic mansion, with "Jerkinhead" gables, massive chimneys and decorative fretwork bargeboards. The foundations are said to have been cut from sandstone quarried on the property and the blocks to have come from Menangle. It is symmetrical in plan and facade, with an extensive verandah to three sides being supported on cast iron columns.The gabled roof is covered in slate, the roof line being given interest by many dormer window gables, massive chimneys and fretwork barge boards.

Rarer still are specimens that have tips exhibiting a kris-like fretwork, while others have engravings down the entire blade. Although the kampílan can be used with one hand, it is primarily a two- handed sword.

Good examples of plasterwork can often be seen in the gaping ruins of torn-down buildings- the effect is light, delicate and airy. It is usually around the majlis, around the coffee hearth and along the walls above where guests sat on rugs, against cushions. Doughty wondered if this "parquetting of jis", this "gypsum fretwork... all adorning and unenclosed" originated from India. However, the Najd fretwork seems very different from that seen in the Eastern Province and Oman, which are linked to Indian traditions, and rather resembles the motifs and patterns found in ancient Mesopotamia.

Screens facing the stalls are of cusped ogee arches and quatrefoils in open fretwork moulding; the altar rail is of similar style. Behind the stalls are pews, originally belonging to the manor houses of Easton and Stoke Rochford. Between the aisles and chancel chapels at the north and south are 19th-century low wooden screens, with a run of seven double panels; plain below, those above with decorative insets, the central and outer of quatrefoils. Above the paneling runs open fretwork moulding of cusped ogee arches leading to quatrefoils between, below a top rail.

View of the Palace with intricate fretwork The main attraction is the ruins of the pre- Hispanic city of Mitla, which is best known for its buildings decorated with mosaics of small flat stones that fit together to create designs, especially fretwork. The Mitla is the second most visited archeological zone in the state of Oaxaca. Most of the town's economy is based on tourism to the site, being filled with restaurants, small hotels and shops selling handcrafts and mezcal. However, many residents here feel that the area is not promoted sufficiently by the government.

The buildings are set in a U-shape configuration, and are of face brick construction with steeply pitched gable roofs. Decorative timber fretwork is a feature of each gable end, and the south and west wings have louvred vents behind the fretwork. The 1907 wing is separated from the adjoining western wing, the western wing abuts the south wing at one corner and all buildings are connected by a timber verandah. A separate room was constructed for the principal's office at 90 degrees to the west wing, accessed from the verandah.

NMC D157 (2 CDs). Cast Includes Martyn Hill (John Taverner) and David Wilson- Johnson (Jester). BBC Symphony Orchestra, Fretwork, His Majesty's Sagbutts and Cornetts, and London Voices, conducted by Oliver Knussen. Taken from a 1996 BBC studio recording.

Internal doors have fanlights above on the ground floor and fretwork panels above on the first floor. Rooms open onto the verandahs via french doors, and rooms at the rear of the building have sash windows with pressed metal window hoods.

Many fine modern viol consorts (ensembles) are also recording and performing, among them the groups Fretwork, the Rose Consort of Viols, Les Voix Humaines, and Phantasm. The Baltimore Consort specializes in Renaissance song (mostly English) with broken consort (including viols).

A pointed arch in the southern end provides access to the entrance porch. The walls are rendered and the coffered ceiling is lined with beaded boards. The ceiling houses 5 fretwork ceiling roses positioned between the tie rods which brace the building.

Pub verandahs and balconies were often fitted with elaborate iron lace facings and cast-iron columns, because these new mass-produced components were highly fashionable, relatively cheap, and easily transportable. Sometimes, in areas where wood was plentiful, internal decoration included elaborately carved wooden fretwork panels.

The timber balustrades on the staircase are of an unusual decorative design. The upper level contains three bedrooms and one bathroom. Two of the bedrooms have access to the front verandah via the French doors. The internal doorways have rectangular fanlights with decorative timber fretwork.

Richard John Campbell (21 February 1956 - 8 March 2011) was an English classical musician, best known as a founder member of the early music ensemble Fretwork and for his newer association with the Feinstein Ensemble, specialising in historically accurate performance of 18th-century music.

The west window is similar, but narrower, and of two lights. The south wall windows are identical: rectangular chamfered openings within which are three lights with cusped ogee heads. The parapet is of a coping set above a repeated c.17th-century cusped fretwork device.

A flat wall surface is stylized with a floral mosaic, while the wreaths that separate floors are highlighted with a fretwork. At the top is an octagonal pyramid with a brass statue of an angel which rotates according to the direction of the wind.

The verandah awning which is supported on pairs of stop-chamfered timber columns with decorative fretwork brackets, features a projecting triangular pediment infilled with fretwork emphasising the entrance. The windows on the east and west sides of the building are shaded with corrugated iron clad timber framed hoods with vertical battened returns. The lower level of the western face of the building has two entrances' a pair of French doors and a more recent single door. Internally the building is arranged with rooms off a central hall, towards the rear of which is a timber boarded door leading to a timber stair with cantilevered treads providing access to the attic.

Parish Bank & Trust Company/Casanova Building: Built c.1920 as the Parish Bank and Trust Company, this two story tapestry brick building, located at 101 W. Landry Street, has a bas relief eagle, two panels with stylized fretwork, and diamond patterns over two of the windows.

The verandahs have a recent dowelling balustrade between timber columns, which have decorative timber brackets. The handrail is an angular shape. Flooring to the verandahs is of 4in wide hardwood. Modern replica work includes the fretwork under the gable, the gable finial and the property name sign.

The verandah ceiling is flat sheeted and battened. Verandah posts are timber, with moulded capitals, and fretwork brackets. Wooden blinds filter light to the wide front verandahs. On the outer face of the southern extension, a high arched and dowelled valance, with pendant, elaborates the bays.

It was sold again in 1984. The building was extensively modified by successive owners including the addition of rooms, brick render, eastern verandahs, fretwork gable, northern porch and a modern kitchen. The name Baroona is also used for the main road, the locality and the municipal ward.

The northern side is vertically lined with timber. The central section of the timber ceiling is flat and the sides and ends are angled. A vent with decorative fretwork is located in the ceiling. The Magistrate's bench is located at the northern end of the room.

Blades between the two tools are usually interchangeable, and indeed scroll saws are often known as "fret saws" informally. The tool takes its name from its use in fretwork and ultimately from the French freter (lattice)—a reference to the intricate patterns often created using this tool.

Influences in textile designs include pre Hispanic fretwork, glyphs, elements from new archeological finds. Most are sold in the United States, through institutions such as museums. The more innovative designs are popular in California. Each piece is unique and often in a variety of vibrant and earth tones.

She often becomes irritated with the children's constant antics. She has been engaged multiple times to Timmy Fretwork, the Banjo Man, although they have yet to wed. Thompson has admitted on several occasions that Bliss is her first name, not her surname. ;Mr. Danders :Blisshaven's pet guinea pig.

Glasgow : John Tweed. p. 49. The calcareous incrustations in these caves were compared with Gothic fretwork. A number of old limestone quarries lie close to the modern day farm of Auchenskeith, but it is likely that Auchenskeigh is a synonym for Cleeves Cove.Harvey, William (1910), Picturesque Ayrshire. Pub.

In front of the stairs of the north building is a cross-shaped tomb with an antechamber. The ceiling has large beams made of stone, and the walls are decorated with tablets and stone fretwork. The east building is characterized by a monolithic stone column that supports the roof.

Late Victorian features are the stone kitchen in the rear, an 1880s addition, as well as the central dormer, the two-over-two front windows, the fretwork around the eaves, and cast-iron faux marble mantels on the west side, where the 1880s flues have replaced the 1840s fireplaces.

Above this runs a plain water table. Large paired one over one windows with stone tablets below each window mark the primary level. Above each window pair are continuous transoms having classical criss-cross fretwork muntins. Each paired window opening is surmounted by a limestone flat arch with radiating voussoirs.

Mature trees include a cock's comb coral tree (Erythrina crista- galli), fan palm (Washingtonia robusta) and Bhutan cypresses (Cupressus torulosa). (Rear to Church Street), Federation-style stables with ornamental ridge-capping on roof. Note the house's wooden fretwork and verandah columns. NB: Cocos Is./Queen palms & Lord Howe Island palms.

During the earthquake of the early twentieth century, the building suffered great damage, so there was the need for repairs which can be determined on the walls on the north side. Some of the stones used for lifting, can be observed with other glyphs and fretwork of indigenous and colonial times.

A vent with decorative fretwork is located in the room at the southern end of the room.f The strong room is accessed from this room. Paired timber doors with a breezeway open to a small hall. The timber within the doors' framework has been angled to create an decorative effect.

The joinery is cedar and the large cedar fireplace remains in the dining room. There are timber fretwork roses in the twelve foot ceilings. Cedar French doors with fanlights open onto the formerly encircling verandahs. The hall/dining room doors have etched and coloured glass panels in the upper sections.

The entablature consists of a stone architrave, plain brick frieze, and limestone cornice. A brick parapet with stone coping masks the roofline. Set into the parapet and centered over the double windows below are stone panels repeating the fretwork of the transoms. The cornerstone of the building is located at the southwest corner.

The Simon Weldele House is a wood frame building rising two and a half stories. It is irregular in plan, with multiple gables emerging from a hip roof, and a polygonal corner tower. Elements of Queen Anne style include the wraparound porch with turned posts, fretwork gable panels, stained glass, and polychrome exterior.

A large stage for both traditional drama and musical shows as well as the cinema screen, with adjoining dressing rooms, was provided, with an orchestra pit below the stage. The proscenium was decorated with timber fretwork incorporating transparent lining which concealed electric lighting. The ceiling and walls were lined with timber lattice.

The original interior doors are of panelled timber with pressed metal push plates. Evidence of the original dark stained finish is evident under layers of paint. The bay windows are substantially intact despite having been relocated from the corner of both front rooms. A decorative internal timber fretwork grille is fitted to both of them.

A large square ventilator is centrally placed on the ridge of the corrugated iron roof. The verandah, with dowel balustrading and lattice screening, extends around three sides of the building. The front porch is decorated with simple fretwork and a wooden arch over the front steps. The single-skin timber external walls have exposed framing.

All rooms are in largely original condition, the only changes being to external fanlights to accommodate air conditioners and the internal fretwork fanlights being covered over. The rooms on the outside corner are larger than the others while the room on the inside corner is totally enclosed but has a central skylight (now covered).

Leadlight glass was used in the front doors, their sidelights, the triple windows above the front door and in the vestibule lantern. The vestibule leads into large rooms suitable for entertaining. The original drawing room is to the left and beside it the dining room. A timber fretwork screen divides vestibule from the hall.

Many of these items are also embroidered. Jewelry made from natural materials is also available. The municipalities has some quarries for pink “cantera” stone used for building. To the south of the municipal seat is the Hacianda de Xaga, in which is a cross-shaped tomb decorated with fretwork and conserved its original painting.

Each of the front gables features elaborate fretwork, and a colonnaded veranda adds a classical element. Pilaster strips appear at each corner of the house. The interior contains a front entrance, two parlors, and a dining room on the first floor. Two bedrooms, a bath, and a formal landing make up the second floor.

The church is entered through a gabled entry porch below a triple lancet window assembly. The front wall of the building has chamferboard cladding. The roof has decorative timber brackets at the eaves and fretwork panels to the gable ends. Inside the roof is supported by timber trusses and is lined with diagonal boarding.

Externally the house features a fretwork pediment over the front steps. Wide verandahs with cast-iron balustrading extend across the front and along two sides. The verandah roof is supported by paired verandah posts on brick piers, and separated from the main hipped roof of corrugated iron by a cornice with paired console brackets.

The house contains 26 rooms decorated in the Victorian era designs. Beautiful oak fretwork welcomes visitors to the entrance parlor. The eye is instantly drawn to the handcarved griffin found in the woodworking to the bottom right. The dining room is located to the right of the entrance with two parlors to the left.

The floor is concrete. The roofs are of corrugated iron and some translucent panels have been inserted. The very handsome exterior is unusual in having virtually identical north and south elevations and unadorned sidewalls. The north and south ends feature the roof monitor, which is given ingenious pediment treatment by means of decorative fretwork timber boarding.

The main gables are sheeted with vertical boarding and the walls with weatherboards of various profiles including rebated rusticated, bull nose and chamferboard. A fretwork valence appears in each main gable below the monitor ends. Each end elevation has a centre doorway with double doors and a semi-elliptical head, and four semicircular-headed double-hung windows.

Rosette designs vary from simple concentric circles to delicate fretwork mimicking the historic rosette of lutes. Bindings that edge the finger and sound boards are sometimes inlaid. Some instruments have a filler strip running down the length and behind the neck, used for strength or to fill the cavity through which the truss rod was installed in the neck.

Most interior spaces have plastered walls with v-jointed (VJ) timber board ceilings with early fretwork ceiling vents. The first floor lecture room retains its coved ceiling, and the roof lantern is visible in the space. A pressed metal ceiling is featured in the foyer space. Skirtings, cornices and architraves are generally early and of timber.

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

In this house Bulfinch has made the first floor with his characteristic recessed brick arches, here ornamented with Chinese fretwork balconies in iron. The facade has four bays, with somewhat odd use of Corinthian pilasters on the 2nd and 3rd floors. There is a roof balustrade and a largish, octagonal cupola. Otis lived here until 1806.

Two sections underneath where vehicles park is lined with unsealed hardwood shot- edge boards. A large archway frames an opening into the adjacent annex. Quad- profile trims are featured on the ceiling panels and trim the wall junctions. Simple pendant lights hang from the ceiling where a single ventilation inlet in-filled with fretwork is located.

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

On completion in 1899, it presented as a unified whole. The interior, finished in silky oak and cedar, was lighted by gas. The courtyard formed by the wings of the building was paved and was described as being like a conservatory. Wide verandahs and fretwork panels above the doors were designed to channel the Strand's breezes through the hotel.

The opening from hall to lounge has been widened. Here and most notably in the hall, panels of lattice wrap around the central section of wall nibs. Fretwork of relatively recent date has been applied to the doorway between hall and dining room. The octagonal bedroom windows contain original pale green and yellow glass, and darker replacement panes.

They also create their own brushes from the hair of various animals. The larger decorative elements are painted first, with the details added over top. Many of these designs are unique to the family and include flowers, fretwork and palm leaves. When dry, the colors are set by burnishing the piece with great force, which also seals the pores.

A figure prays behind a finely detailed fretwork screen in the painting 'Devotion' and a tranquil Buddha head with rays of light radiating around it appears in 'Illuminations'. She considers moments in meditation and deep experience of silence can be felt and expressed through the depth of colours and a close-knit relationship between creator and structure.

The main hall has a timber floor and the raised stage is located at the eastern end of the room. The stage is accessed via a set of timber stairs. Timber vents with decorative fretwork are located along the length of the ceiling. The central section of the timber ceiling is flat and the sides and ends are angled.

Balaclava Railway Station, Jamaica National Heritage Trust. The upper of the two stories has a gable end roof; an adjoining hip roof has a downward fishtail fretwork on its eaves. The building has sash windows and recessed panel timber doors. In 2003 it was reported as being in "deplorable condition" and "in need of major repairs".

The church and monastery lie in the western part of the city. The church is the oldest Gothic church in Dalmatia. The inside is relatively plain. Behind the main altar dating from 1672 lies what was once a shrine and inside choir seats richly decorated with fretwork in gothic style from 1394 by Giacomo da Borgo Sansepolcro.

In the process of enclosing the front verandah with timber cladding and aluminium windows, a dowelled balustrade, verandah gate and decorative timber posts with capitals and fretwork brackets have been lost. Modern quad guttering has replaced the original ogee profile and acroteria. Timber stumps have been supplanted by concrete and the front fence has been replaced.

The room has a skylight with clerestory windows. The skylight is lined with timber panels and has a circular ventilated opening, with decorative fretwork. The ornate plaster ceiling is decorated with panels and a ceiling rose. Other meeting rooms on the first floor are similar to those on the ground floor with plaster cornice detail and timber architraves.

Windows are two-light vertical sashes with brick arches over. Timber shutters were provided by Blacket to most windows although not shown on the original drawings. The roof is sheeted with galvanised iron and has three high brick chimneys. The three gables were finished with highly decorative timber fretwork that gave the relatively plain building some period detail and interest.

Each leaf has three panels, the upper two being of opaque glass and the lower panel of timber. Above each set of French doors is a timber fretwork ventilation panel. However, two of the original 12 bedrooms have been converted into bathrooms. An older bathroom is located on the top floor of the two-storey extension to the rear verandahs.

The hotel is believed to have been constructed in , forming the oldest surviving public hotel in Albury. Another source says it was built even earlier, in 1844, by James Wyse.McGuire, Paul (1952), Inns of Australia, Melbourne, William Heinemann, p.164 Modifications were made to the hotel in when a two-storey front verandah was constructed with timber floors and cast iron fretwork.

Some of the most recognisable Federation/Edwardian features include red brick exteriors with embellished wood detail known as fretwork. Cream painted decorative timber features, tall chimneys were all common. Stained glass windows towards the front of the home became increasingly popular during this period. Internally, Victorian-era features were still evident, including plaster ceiling roses and cornices and timber skirting and architraves.

The roof is hipped and covered with painted corrugated iron. The north and east elevations are dominated by the double storey verandah. The posts are timber although those on the extremities have been replaced with steel columns. At first floor level there is a two- rail dowel balustrade over a deep, scalloped, valance formed from tongue-and- groove matchboards and decorative fretwork brackets.

Four bays of the balustrade have been replaced with galvanised iron sheet and most of the fretwork brackets are missing. Where the building has been extended the veranda is fully enclosed with adjustable timber louvres. The south elevation reflects the additions that have occurred over time. These are illustrated in changes of roof pitch, joint lines in the chamferboard and various window types.

There is a central brick chimney rising above the main roof, and resting on stone foundations. The front verandahs have timber posts with decorative capitals and fretwork brackets. On the lower level the timber balustrade has simple timber dowel in-fill and there is a timber lattice valance. Two of the bays are in-filled with timber lattice privacy screens.

The tower has two similar, narrower windows on either side. A cantilevered, gabled roof, supported by diagonal bracing, shelters the main entrance. It is trussed by intersecting fretwork and a wooden cutwork sunburst. A similar, more restrained hood, with a turned spindle in place of the sunburst, shelters the secondary entrance, which has a slightly curved wooden wheelchair ramp leading up to it.

In the 1950s the building was joined to the next door structure by an enclosed timber bridging section at the upper level, to allow ingress of vehicles to the rear yard. The interior of the building, though now used as offices, retains the original layout of the earliest section and joinery details including doors, windows and elaborate fretwork transoms over ground floor doors.

At the rear, a skillion-roofed central section adjoins with gabled landings. The church is set on timber stumps, about high, with battening between. Roofs are of corrugated iron, with front and porch gables surmounted by a cross and decorated with triangular timber fretwork panels on curved metal brackets. Three square, capped, ventilators line the ridge of the main gable.

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.

A large entrance door with side lights and a transom, is emphasised by a gable featuring a decorative timber fretwork panel. The doorway is flanked by two full length bay windows, of concrete construction, with full length sash walk through windows. A cavity above the window conceals the opened lower sash. The building features many timber framed vertical sash windows, with concrete sills.

Exterior timber pelmets are a feature of some historic buildings, fitted on the outside of a window. These may be plain or decorative, with complex fretwork in some examples. These may be purely decorative, or serve to conceal an external blind mechanism. Due to the appearance of a pelmet, the term is often used to describe an extremely short skirt.

This site of cave engravings is on a rocky outcrop located on the top shore of the right bank of the ravine of the Atajo. Le site includes six panels in their original position. The patterns are geometric and put the accent on spirals, fretwork and meanders. They were made by punching the stone, making marks of variable widths and lengths.

The separate identity of each house is highlighted by a small gable at either end of the top verandah, each with an intricate fretwork pediment. These are supported by double columns which continue down to the lower level and flank the entry on the ground floor. Leadlight fan and sidelights surround the cedar panelled front doors. The internal joinery is also cedar.

It is two stories high, with a square three-by-three-bay central block and seven- bay T-shaped rear wing. The siding is clapboard over wood frame with diagonal brick braces. A wide entablature goes down to the middle of the second story windows; fretwork flanks the three on the east (front) facade. The main entrance is flanked by projecting bay windows.

The great hall runs past the fretwork and contains an inglenook known as a "Courting Fireplace" with cast-iron firebox. A large oak stairway leads to the upper floors. Off the landing is the growlery, where the men would go after dinner to discuss the issues of the day. The second floor contains 5 bedrooms, two dressing rooms and two bathrooms.

This antechamber once had a roof, supported by six columns, but only the columns and walls remain. Beyond the antechamber is the main room, where priests burned incense, made sacrifices and performed other rites. Behind the main chamber are the living quarters of the Zapotec priests. Walls throughout this building are covered by intricate mosaic fretwork, and murals depicting mythological scenes and characters.

The floor is of gravel and there is a concrete perimeter. The north and south walls are sheeted in corrugated iron. On the exterior, the north end has a decorative gable treatment incorporating chambered bargeboards, a collar-tie, a curved member extending from eaves to collar, a central finial post, and a valence of fretwork boarding suspended from the curved member. The spandrels are filled with boarding.

Typical headstock inlay Beyond the fretboard inlay, the headstock and sound hole are also commonly inlaid. The manufacturer's logo is commonly inlaid into the headstock and pickguard, if present. Sometimes a small design such as a bird or other character or an abstract shape also accompanies the logo. The sound hole designs found on acoustic guitars vary from simple concentric circles to delicate fretwork.

It returns around the south side of the building and extends north to link with the lavatory building. A fretwork valance finishes the bay between the platform building and the lavatory. The half timber panelled gable end is visible behind the awnings. Internal: The Platform 1 building is generally used by station staff and consists of two locked rooms and a general waiting room in the centre.

The pilasters are decorated with early Greek Revival fretwork. The interior of the hall retains original pew-like benches, and rustic horizontal board wainscoting. with The hall was built in 1839, as a centralized place to hold town meetings, which had previously been held in individual homes or barns. The land was donated by Charles George, who also gave some of the lumber for its framing.

At the upper level, the paired supports are spanned by intricate, cast iron lace balustrading. The house has a corrugated iron hipped roof with stepped down and slightly convex roofing over its upper level verandah. Its entry, facing east, is defined by a central gabled portico, with a fretwork pediment. A decorative, masonry fence and mature plantings, many along the property's front boundary, screen the house.

He also published books on fretwork, marquetry, paper mosaics and paper-rosette work. In 1870, he co- authored a book on Derbyshire pottery and then published his own works on Bow, Chelsea and Derby Porcelain and later Longton Hall Porcelain. Bemrose was an amateur painter and chaired the Derby Art Gallery committee. He collected art and pottery which he purchased during his wide travels.

A coping saw. A coping saw is a type of bow saw used to cut intricate external shapes and interior cut-outs in woodworking or carpentry. It is widely used to cut moldings to create coped rather than mitre joints. It is occasionally used to create fretwork though it is not able to match a fretsaw in intricacy of cut, particularly in thin materials.

Some of the workshops still work with large old weaving looms. In addition, there are workshops which make rugs, zarapes, and other items for the home. In Coroneo, the craft 100 years ago was practiced only by women. The most common item is still the zarape, which is decorated with figures such as horse heads and deer as well as fretwork on the edges.

The stepped verandah has a bull-nose roof profile. Access to the verandah is gained by a short flight of timber stairs. The decorative fretwork pediment above the stairs features a sunray motif, which is repeated in the timber brackets to the verandah posts and which was a common embellishment of Irish design. The front walls are unlined, vertically-jointed boards braced by horizontal beams.

Lobby Inside, the first floor is divided into the postal lobbies and the large Postal Workroom, which encompasses approximately 90 percent of the floor area. The public spaces feature rose marble flooring and Tennessee Tarvernelle marble wainscoting. Elevator doors are sheathed in bronze and brass, and bronze trim frames the letter slots and service windows. An open screen of Greek key fretwork is above the service windows.

Thomas Stilwell House is a historic home located at Glens Falls, Warren County, New York. It was built about 1875 and is a rectangular, two and one half-story, frame residence with a gable roof and sheathed in clapboards. It features a raised, bracketed one-story porch with balustrade and ornate scroll-sawed fretwork. It is representative of a modest transitional Italianate – Eastlake style.

The exterior is largely intact, although the frame and glass of the shop front window has been replaced and the entrance to the "shop" is now through a glass door. The parapet above the shop front is supported by free-standing columns with the shop window set in behind. The base of the shop front below the window is in cast iron in an unusual fretwork pattern.

The ground floor interior includes two renovated bars, a dining room which is now partitioned, the kitchen, the store and bathrooms. On the first floor, accessed by a fine timber staircase, are a number of bedrooms and bathrooms. With the exception of the bars and bathrooms, the interior is largely intact. The walls are lined with plaster, and fretwork fanlights remain above the doors.

St Brigid's Church (1904) stands in a semi-rural setting facing Flinders Highway (Stuart Drive) in the suburb of Stuart. It is a traditional timber and corrugated iron building with Gothic features of the Federation era. Chamferboards are attached to the exposed stud frame which is diagonally braced and strengthened additionally by timber buttresses. Plain bargeboards and a decorative fretwork panel highlights the frontal gable.

The main entry features a panelled timber door with patterned glass fan and sidelights surrounded by timber pilasters supporting a large cornice. French doors with fanlights open onto verandahs on both levels. Internally, the building has a central corridor opening into dining rooms, a bar and kitchen. The dining area has had fretwork arches added, and existing arched openings have had their balustrade removed.

It contains a medallion with an image of Christ as the "Humilladero" (humbled), which colonial travelers worshipped. The arch is made of sandstone in Baroque style with geometric fretwork. At the very top is a small column on which used to sit a statue of San Sebastian de Aparcicio. In the 1970s, a bus hit the arch and toppled the statue, which was never replaced.

Front verandahs to either side of the portico are ornamented with chamfered timber posts, a timber frieze on the lower level and fretwork brackets and cast-iron balustrading on the upper floor. These details were recreated in the 1983-1984 restoration to as close to the original as possible. A double rear verandah with formerly the same detailing, remains enclosed. The interior has been modified and refurbished.

King Parker House is a historic home located near Winton, Hertford County, North Carolina. It was built about 1850, and is a two-story, three-bay, single-pile vernacular Greek Revival style frame dwelling. It has a low- pitched, side-gable roof and front portico with vernacular Italianate fretwork. The house encompasses an 18th-century, one-room, 1 1/2-story, gable- roofed building.

The entrance is marked by a fretwork pediment, beyond which is the panelled front door with leadlight fan and sidelights. French doors with shutters open out from the rooms onto the verandahs. A large drawing room and dining room, linked by folding doors, are located on the right side of the central hallway, and three bedrooms are on the left. A substantial staircase leads to two attic bedrooms.

The house is symmetrical, constructed of brick, stone and timber. The walls are of Flemish- bonded red brick with contrasting limestone quoins, which are pronounced on the exterior of the building. The front of the building has been altered, with the addition of beautiful Jamaican Vernacular fretwork which allows for some amount of privacy and yet allows you to enjoy the sea breeze.Hibbert House , Jamaica National Heritage Trust.

He recorded solo album "Thousand Wave" and worked with future globe headliner Tetsuya Komuro as a touring guitarist for Komuro's band TM Network. "99", a simple instrumental incorporating some blistering fretwork, is considered one of his finest works. After his solo album, Matsumoto decided to try his hand at starting his own band. With his session work behind him, and a burgeoning production career, he started to search for a singer.

The Cathedral was built of brick, with facades of white limestone that are dressed and decorated. There are entrances to the cathedral on the eastern and the southern side of the building, with fretwork influenced by Italian Renaissance architecture. The bronze doors are decorated with gold foil. Tourists enter the cathedral via the eastern staircase, while the southern staircase is the one added in 1570 by Ivan the Terrible.

Some artifacts from the Kyzyl Kensh Palace are located in the archaeological museum of Karaganda State University. Some examples of the recovered artifacts: a Manchurian coin, copper men's ring with a silver insert, parts of the palace such as decorations and hooks, guns and lead bullets that allegedly belonged to the guards, nails, beads, and wooden fretwork with traces of the pattern that were painted with paint from real gold.

The north- western verandah has changed little, but there was a handrail between the posts with blinds behind. The south-eastern verandah was similar to the other, being open at the front with some infill panels of boarding between posts towards the rear. This confirms that the present Green Room was a later addition, perhaps between the wars. At the front is a decorative fretwork panel above the gable tie.

Federation style depicted a Tudor type look, especially on gables, and Edwardian gave a simpler cottage look. Terracotta tiles or galvanised iron are generally used for roofing, which is designed with a steep pitch. The gable ends and roof eaves often feature ornate timber brackets, and timber detailing and fretwork are a common inclusion on verandahs. Some consider that this style was the Federation version of the Queen Anne style.

Several wide verandahs surround it; the main one along the front and the two sides feature turned timber posts with decorative timber fretwork valances and railings. The side verandah features a coloured leadlight window. The verandahs feature substantial turned posts, timber balustrading, turned valance joinery and exposed rafter ends. The treads of the steps up to the verandah have been formed from single pieces of slate, whilst risers have been tiled.

The entrance opens onto the central hallway which provides access to the living room, dining room and several bedrooms. The walls and ceilings are lined with tongue and groove boards and the hallway ceiling has a small fretwork rose in its centre. Picture rails can be found in each of the rooms and a brick fireplace in the living room is encased in fibrous cement sheeting with cover battens.

The Station Master's residence is a freestanding weatherboard single storey house with a gabled corrugated steel roof, skillion roofed rear sections, and a hipped corrugated steel roofed front veranda. East and west gable ends feature timber barge boards and timber louvred vents. Windows are timber framed double hung, and the front windows (facing into the enclosed front veranda) have vertical glazing bars to sashes. Some windows have timber fretwork window hoods.

The interior is divided into a nave and side aisles by large octagonal columns with moulded caps and cement bases. Broad semi-circular arches span between the capitals. The ceiling consists of timber boarding with circular fretwork ventilators evenly spaced down the centre. The gallery is supported on small trusses and is approached by two flights of stairs, one at the front and the other at the rear.

The vase was created in celebration of American poet William Cullen Bryant's 80th birthday in 1875. A group of Bryant's friends commissioned Tiffany & Co. to craft modern vase in the style of Greek vases. The new vase, done in silver, was then endowed with themes and motifs reflecting some of Bryant's poetry. To this end, the vase's fretwork depicts various plants, including stalks of corn, apple blossoms, cattails, and water lilies.

The house features a variety of Late Victorian architectural elements. It follows an irregular plan that includes Eastlake incised bargeboards and porch fretwork, and Queen Anne leaded, etched and colored windows and decorative stickwork on some of the gable ends. The house has an exuberant roofline that features a jumble of gables, gabled dormers, and jerkinhead dormers. It was listed on the National Register of Historic Places in 1982.

The front facade features one bay window, ornate cast-iron balustrading, timber columns with capitals and brackets, and twin posts which support a fretwork pediment. The four panel front door is enhanced by ruby flashed glass sidelights and provides ingress to the central corridor. Walls are lined with tongue and groove boards while step-out sash windows allow access to the verandah. The house and garden have been sensitively rehabilitated.

The house faces north and comprises a pedimented entrance porch leading onto a wide verandah, flanked by two projecting bays. The verandah continues around three sides of the house, featuring a cast iron balustrade separated by tapered octagonal timber posts with decorative capitals and fretwork brackets. The principal timber is beech. Tessellated floor tiles continue from the slate steps at the porch through the entry and into the wide hallway.

The patio is divided in two sides by the pond, which receives its water from two fountains. The space has chambers and porticoes around it. These porticoes rest on columns with cubic capitals, which have seven semicircular arches decorated with fretwork rhombuses and inscriptions praising God. The central arch is greater than the other six and has solid scallops decorated with stylised vegetal forms and capitals of Mocárabes.

Massive elements, such as a bay window and a large pavilion, contribute to the elaborate appearance of the eastern facade. Other elements present on various sides of the house include decorative porches, stone windowsills, a detailed cornice, and entablatures above many windows. The interior features a grand entrance with a walnut stairway, a cathedral ceiling, eight fireplaces with iron or wooden mantels, oak fretwork, and extensive use of poplar.

The main building is called the Palace or the Grand Hall of Columns. It measures and has six columns of volcanic stone that once supported the roof. After passing through a small corridor, access is gained to the courtyard, which is intricately decorated in mosaic fretwork and geometric designs. The north and east buildings of the group have elaborate tombs where high priests and Zapotec rulers were buried.

The original square verandah posts with tapered chamfers, have simple capital and astragal embellishments, and are visible in the front facade. Entry to the front verandah is gained via a short flight of later concrete stairs and through a single lattice door. A flying gable above the entry has decorative fretwork fronted by a simple slat infill and bargeboard. The side verandahs have also been enclosed with hinged windows.

The internal space of the church is formed by the arms of the cross and the dome which surmounts the crossing point. The building has two portals, one to the south and one to the west. The façades are covered with finely hewn white stone squares. The decoration abounds in fretwork, especially around the windows and the base of the dome; the eastern façade is adorned with a large ornate cross.

Amado: Heavy wooden storm doors on the exterior of the house that slide away during day time to allow light and air into the interior Fusuma: Heavier sliding doors made from opaque paper on a wooden frame. - used as room separators often decorated with seasonal scenes. Nageshi: Wooden runners in which sliding doors run. Ranma: Fretwork panels which sit above the door lintels and allow air to circulate through the house.

Riverview is a single storey house in the colonial Georgian tradition, two rooms deep and three bays wide. It is built of face brick with stone dressings, corrugated iron roof and a bell cast verandah to three sides with a decorative fretwork valance. There is a long service wing integral with the house and a cellar under the kitchen. At the rear is a detached two storey coach house and dairy.

Unfortunately the fretwork was removed some years ago from all elevations. The replacement of this feature would recover some significance for this building. Internally the layout was quite simple with a front door under the southern veranda leading to a central hallway with three public rooms (drawing room, dining room and study) with kitchen and scullery at the rear. A polished timber staircase from the hallway leads upstairs to three bedrooms and a bathroom.

Ceilings are boarded, with some roses, and floors are carpeted. The kitchen has exposed roof framing with timber shingles visible below corrugated iron, a central brick double fireplace and walls are single-skin. The servants wing is also single-skin, has window hoods to the west and has a large shower head, originally operated by a cord to release tank water. The schoolhouse has a high boarded ceiling with pitched corners and a fretwork rose.

Chicago architects Patton & Miller designed the library in the Classical Revival style. Two-story columns flank the front entrance, which is topped by a pediment. A terra cotta cornice and frieze encircle the building; the cornice includes modillions and a fretwork pattern, while the frieze consists of flat panels. A brick parapet with an elaborate terra cotta panel at the front rises above the roof line, and a dome tops the roof.

The dominant feature of the entrance hall is its high barrel-vaulted ceiling decorated with Neo-classical Empire-style plasterwork and murals. The decorative pattern consists of raised, geometric shapes and festoons painted bronze, set on a pale background and divided by strips of fretwork. The end vaults are painted with colourful medieval scenes. Two elaborate original chandeliers, with red glass panels and faux candle lights are suspended from the centre of two ceiling medallions.

Ellan Vannin was well appointed for the carriage of passengers with accommodation for 91 First Class and 195 Second Class. Her after saloon was in length and high. The walls were panelled and decorated with sketches of Castletown and Birkenhead. The ends of the saloon were finished with fretwork panels in oak and in the ceiling two handsome sky lights constructed of East India Teak allowed ample light to be directed inwards.

Above the entrance is a large arched window similar to the lower side windows. The central projection is topped by a bell tower which rests on a dentil cornice. The arched openings of the tower are decorated with wooden fretwork and the original bell rests on its mount; the bell's mechanism still works. The tower is capped by a spire which once housed a lightning rod, but now ends in a ball.

Externally it is an awningless single-storey weatherboard platform building with a gabled corrugated steel roof and weatherboard tongue & grooved board eaves. There are five doors opening onto the platform, one doorway (to the waiting room) has a simple timber fretwork awning. There is one timber framed double hung window to the northern end of the building's east (platform) elevation. The building has a blank facade facing the Princes Highway to the west.

Traditionally their work was almost exclusively done with palm fronds and noted in the Sierra Codex. However, environmental degradation has made this raw material scarce, putting the craft in danger. Those who still work with it create , , fans, and sombreros, and for a number of households, it is their only source of income. The old fretwork decorative designs have almost disappeared, but people can still be seen working the fronds in various public spaces.

As fitting for a house to receive members of society in the Victorian Era, the interior features elaborately carved fireplaces, stained-glass windows, high ceilings in parlors and dining rooms, with carved arched fretwork leading the way into these rooms from the reception hall with its large staircase. The interior woodwork is cherry, bird's eye maple, and golden oak.Gregory Luhan, Dennis Domer, David Mohoney. The Louisville Guide Princeton Architectural Press, 2004 p.

The choir won the Time Out Award for Classical Artist of the Year in 2001. He released one album titled Message from the Border that was released on Catalyst/BMG Records. His 2001 commission from Fretwork, called 'Birds on Fire' was recorded by them for Harmonia Mundi under the same title and was released in 2008. He composed the music for the closing ceremony of the 2008 European Capital of Culture, Stavanger.

Most rooms have boarded ceilings, with the living room and hall having plastered ceilings with decorative cornices. Internal doors have fretwork panels above, with the living room doors from the front and rear halls having leadlight panels. A steep internal stair leads from the front hall to the belvedere. The southwest verandah has been enclosed with chamferboards and casement windows, and a skillion roofed store and covered stair have been added to the southeast.

The two main stairwells feature marble staircases with wrought-iron balusters and floral designs inset into wood handrails. Adjacent elevators retain their original bronze doors, displaying decorative medallions and Greek fretwork. Above the elevator doors are bronze acanthus-leaf moldings and lunettes with murals depicting postal delivery themes, also painted by Long. The second floor includes two original federal courtrooms designed with coffered wood ceilings, marble wainscoting, decorative pilasters, and arched windows.

The World Expo '88 interior refurbishment included the carpeting and painting of the interior, a new staircase from the front foyer to the first floor and modern fretwork brackets. The third stage (1902), at the rear, is a long rectangular building with light coloured horizontal strings and window arches. The corrugated iron hipped roof has a continuous raised roof ventilator. The interior walls has timber panelled dados, plaster raked ceilings and an unadorned proscenium stage.

It is constructed of face brick with rendered mouldings to the upper facade and parapet. The hipped roofline is concealed behind the parapet which contains the words "E. Bostock & Sons, estabd 1865" with the date of construction of the building, "1915", on the corner. The detailing to the upper floor windows is a distinctive feature of the building and includes elaborate rendered sills, and window hoods with timber brackets, fretwork and terracotta roof tiles.

Examples of Shaw furniture currently exhibited at the Hammond-Harwood House Museum demonstrate the inlay work popular in the Federal era which he combined with early Chippendale style fretwork. On May 24, 1784, Shaw purchased a house across the street from the Maryland State House. Located at 21 State Circle, the house was previously the shop and home of the butcher, Cornelius Brooksby, Jr. It was sold to Shaw by Brooksby's descendants.

The ground floor verandah frieze is of plain timber slats with feature fretwork slats, below which are diagonally cut timber panels. One bay of the ground floor verandah space has been infilled with rendered and scribed brickwork. The verandah to the upper floor has an ogee curved profile awning, balustrading of similar detail to the frieze below, and slatted timber brackets and frieze. A rudimentary rear verandah is accessed by a straight timber stair.

Eisenlohr was also up-to-date stylistically. He was inspired by local images; rather than copying them slavishly, he modified them. Contrary to most present-day cuckoo clocks, his case features light, unstained wood and were decorated with symmetrical, flat fretwork ornaments. Eisenlohr's idea became an instant hit, because the modern design of the Bahnhäusle clock appealed to the decorating tastes of the growing bourgeoisie and thereby tapped into new and growing markets.

These three shopfront areas are currently unoccupied. The original ticket office and small foyer area are located to the eastern side of the entry. Internally the theatre retains many of its early features, including seating, timber fretwork and lattice, light fittings and some balustrading. The ceiling and most of the side walls are covered with timber lattice mounted on timber posts, that stops just above the level of the exit doors in the side walls.

The large mirror panel of the mantel is decorated with a painting of birds and flowers. Basic timber bookshelves are mounted on the eastern wall in the space formerly occupied by another chimney. Timber, wall-mounted lockers are to be found either side of the wide doorway that leads into the back section of the building. Panelled timber doors with fretwork fanlights are opposite each other at the back of the hall.

Less elaborate marble altars are located at the ends of the aisles. A stepped timber choir and organ loft is located at the other end of the church; it is supported by two colonnettes (thin columns), and is accessed by stone spiral stairs enclosed by a rendered brick wall. The loft balustrade is carved with quatrefoils, and has a continuous fretwork music stand at handrail level. The organ has richly carved timber surrounds.

This symmetrical three-storeyed building of the Federation period has deep shady verandahs on the upper two levels. These verandahs, which extend over the footpath, are decorated with cast-iron balustrades and friezes, together with timber fretwork. The ground floor shop front and interior have been modernised while the upper floors remain basically intact. The brick building, which is well designed for the tropics, is surmounted by a parapet and centrally placed pediment.

This decline, and lack of support for development, have left many of its early buildings standing. The streets are lined with many small houses known for their unique fretwork and windows, major merchant and planter complexes, and commercial buildings, all dating from 1790 to 1840. While Falmouth saw little commercial advancement after the 1840s, houses continued to be built. The town's buildings, the old and the not-so-old, make up the historic townscape of Falmouth.

External: The station building is a unique type 10 "Standard Eddy" design, with its curved form along the platform. The building is a single storey building of rusticated weatherboards with a hipped corrugated steel roof largely hidden behind the encircling cantilevered awning with a deep valance of fretwork timber boards. This building type is one of the first major buildings to have a cantilevered awning. The building and awning are constructed on a curve following the platform shape.

It is connected to the head keeper's cottage by a covered stair with a windbreak wall. The head keepers quarters and assistants quarters are built within a series of sandstone walls which give a compound like environment relatively protected from prevailing winds. The head keepers quarters feature verandah covered by the sweep of the corrugated iron clad roof, the decorative timber fretwork long gone. A large bay breaks the verandah at the northwestern corner in the Headkeepers quarters.

In 1854, merchant Adolphus Frederic Feez purchased a parcel of land at the tip of Kirribilli Point for £200. The land had been sliced off the grounds of adjacent Wotonga House, which now forms part of Admiralty House, but was then in private ownership. Feez built the picturesque Gothic-style structure now known as Kirribilli House – a twin-gabled dwelling or cottage ornée – on the land's highest spot. The house features steeply pitched roofs, fretwork, bargeboards and bay windows.

This was obviously intended to give an artistic ambience to the area. Most of the houses in the area were built between the 1890s and the beginning of the First World War. They were constructed quickly and with little variation in layout. Their façades were differentiated by the application of mass-produced items; wooden fretwork, stained-glass panels, turned balusters and pressed tin (intended for interior ceilings – this "new" product occasionally appears on the gable ends of some villas).

In 1902 Boland's business had grown sufficiently to warrant major improvements to his existing premises and construction of a spacious single-storied concrete shop fronting Spence Street, the first large concrete building erected in Cairns. The construction of this store necessitated the partial demolition of the original wooden shop. The new building carried an ornate facade with pediment and parapet, and a bullnose verandah. The verandah had paired columns with decorative brackets, and a frieze of rectangular fretwork.

Durante began playing guitar in 1966 after being inspired by the fretwork of Jimi Hendrix, Frank Zappa and Merle Travis. Ten years later, Durante founded a rock combo he named "Public Enemy". Durante's band bears no relationship to the hip-hop musicians of the same name. The band broke up when Durante expressed a desire to play punk rock. In the early 1980s, Durante played guitar with The Aliens and the punk band The Next Big Thing.

Pete Welding from Down Beat was less enthusiastic in a two-and-a-half star review, finding the live recordings characterized by "long dull stretches of water-treading alternating with moments of strength and inspiration". The magazine's John Corbett later called Live-Evil "an outstandingly creative electric collage", while Erik Davis from Spin found the music "kinetic" and described McLaughlin's playing as "Hindu heavy-metal fretwork".Davis, Erik (April 1997). "Freakin' the Funk – Revisiting Miles Davis's '70s Visions".

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.

Felipa Tzeek Naal is a Mexican artisan specializing in traditional Maya palm frond weaving. Her work is well-known regionally and has been recognized by the Fomento Cultural Banamex, who named her a "grand master". She lives in Nunkini, a small village in the municipality of Calkiní Municipality, Campeche in the southeast of Mexico. Since before the Conquest, the Maya wove mats and baskets from the leaves of a local palm called "huano", with fretwork and geometric designs.

The house has an unusual asymmetrical facade and a U-shaped plan form, reflecting five periods of extension. A central hallway, with large rooms opening off it, extends the length of the main body of the building. To the left of this hallway there are two rooms which are divided by a large cedar arch. To the right, all the rooms open onto the verandah through french doors which have fanlights decorated with etched glass and fretwork.

Both Chippendale and Sheraton made or designed many bookcases, mostly glazed with little lozenges encased in fretwork frames, often of great charm and elegance. In the eyes of some, the grace of some of Sheraton's satinwood bookcases has rarely been equalled. The French cabinetmakers of the same period were also highly successful with small ornamental cases. Mahogany, rosewood satinwood and even choicer exotic timbers were used; they were often inlaid with marquetry and mounted with chased and gilded bronze.

In the 2000s, she recorded an anthology, Classical Kirkby, devised and performed with Anthony Rooley, on the BIS label, 2002; Cantatas by Cataldo Amodei, also for BIS, 2004; with Fretwork, consort songs by William Byrd, for Harmonia Mundi USA, 2005.; Scarlatti Stabat Mater with Daniel Taylor, for ATMA, 2006; Honey from the Hive, songs of John Dowland, with Anthony Rooley, for BIS, 2006: and Musique and Sweet Poetrie, also for BIS, 2007; lute songs from Europe with Jakob Lindberg.

The ground floor plan is organised around a central stair hall running front to back with two main rooms on either side. The ground floor has vinyl-covered, timber floors; plaster walls; moulded timber skirtings, architraves and cornices; and v-jointed timber board ceilings with decorative timber fretwork vents. Floor-to-ceiling height on the ground floor is . The main rooms have a fireplace each with a simple moulded plaster surround and mantle, and a decorative cast-iron firebox.

Bridgeport Centennial Half Dollar Barnum built four mansions in Bridgeport, Connecticut: Iranistan, Lindencroft, Waldemere, and Marina. Iranistan was the most notable, a Moorish Revival architecture designed by Leopold Eidlitz with domes, spires, and lacy fretwork inspired by the Royal Pavilion in Brighton, England. It was built in 1848 but then it burned down in 1857.Barnum Museum Core Exhibits The Marina Mansion was demolished by the University of Bridgeport in 1964 in order to build their cafeteria.

Techniques or styles that normally use openwork include all the family of lace and cutwork types in textiles, including broderie anglaise and many others. Fretwork in wood is used for various types of objects. There has always been great use of openwork in jewellery, not least to save on expensive materials and weight. For example, opus interrasile is a type of decoration used in Ancient Roman and Byzantine jewellery, piercing thin strips of gold with punches.

The choir has recorded several CDs under the Obsidian label. Its collaboration with Fretwork and Alamire, in a CD of the music of Thomas Tomkins, won the Gramophone Awards 'CD of the Month' and 'Editor's Choice' in February 2008. A 2012 release of the works of Renaissance composer Thomas Weelkes was nominated for a Gramophone Award as well, with critics praising the choir's "exemplary ensemble and intonation, beauty of tone, clarity of diction, and interpretive expressiveness".

He has given recitals in Frankfurt, Vienna, Amsterdam, Israel, New York and London's Wigmore Hall with a variety of programmes, ranging from Elizabethan lute songs to new works commissioned for him. He sings regularly with the viol consort Fretwork and has toured with them to Japan and the United States. Michael Chance's list of recordings is numerous and widespread. He received a Grammy award for his participation in Handel's Semele for Deutsche Grammophon with John Nelson and Kathleen Battle.

The most important annual festival is the Guelaguetza, also called the Fiesta del Lunes del Cerro (Festival of Mondays at the Mountain) which occurs each July. The largest and most important archeological site is Monte Albán, which was capital of the Zapotec empire. Also important as an archaeological site is the ancient Zapotec center of Mitla at the eastern end of the Central Valleys which is noted for its unique ancient stone fretwork and abstract mosaics.

The Hickman House is a historic house at 3568 Mt. Holly Road, in rural Ouachita County, Arkansas, south of Camden. The single story frame house was built in 1898, probably by George Edward Hickman, whose father John was one of the county's early settlers. The house is in Folk Victorian style; it has an L-shaped plan, sheathed in original weatherboard. Its principal ornamentation is in the chamfered posts of its porch, which also has sawn fretwork.

Internally the former residence is planned around a central hall from the front door which terminates at a rear deck on the western side of the building. All the major rooms of the building are accessed on either side of this hallway, which features a silky oak round headed archway about mid way along its length. The four panelled timber doors providing access to the internal rooms from the hallway have transom openings above, infilled with timber fretwork panels.

Following an attempt to escape, he was blinded on Jahangir's instructions. In 1622 he was killed on the orders of Khusrau's brother and Jehangir's third son Prince Khurram, who later became the Emperor Shah Jahan. The tomb has fretwork windows and the tomb of his mare lies near his own. Khusrau's tomb was completed in 1622, while that of Nithar Begum's, which lies between Shah Begum's and Khusrau's tombs, was built on her instructions in 1624-25.

Most of Morello's guitar with Lock Up is unlike his work with Rage Against the Machine and Audioslave. His solos, in contrast to Livingston's rootsy blues oriented style mainly consist of arpeggios, tapping and overall fast fretwork. Evidence of his experimenting with the toggle switch can be heard in a few tracks ("Can't Stop the Bleeding", "Nothing New" and "Punch Drunk"). The songs "Punch Drunk" and "Half Man Half Beast" were featured in the 1991 comedy film Ski School.

Coscote Manor, about west of the village, is a timber-framed 17th-century house with fretwork bargeboards and an Ipswich window. Hagbourne Church of England Primary SchoolHagbourne Primary School is in East Hagbourne and was built in 1874. For centuries Hagbourne parish extended north as far as the main road linking Wallingford and Wantage. After the Great Western main line reached Didcot Junction in 1844, a new settlement was built in Hagbourne parish next to the boundary with Didcot.

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

These decorations appear as bands of delicately chiseled fretwork, moulded colonettes and scrolls scribed with tiny figures. The bands are separated by deep narrow channels and grooves and run over the top of the door. The temple plan often included a heavy slanting cornice of double curvature, which projected outward from the roof of the open mantapa. This was intended to reduce heat from the sun, blocking the harsh sunlight and preventing rainwater from pouring in between the pillars.

Instead colonial floral designs were updated and the geometric fretwork was replaced by that based on Art Nouveau. The success of these pieces at the event as well as foreign demand for the lacquerware mean that pieces produced from then on have had less variation in style and fewer opportunities for artisans to create variations.Thele, pp. 51–53 The outbreak of the Mexican Revolution again suppressed the production of lacquerware in Mexico, and made it endangered.

Portions of the verandah survive at the front, southern side and at the rear, and were either conserved or reconstructed in 1987. Dowel balustrading, square timber posts and fretwork brackets of an unusual thistle pattern supply the exterior decoration to this section. A small cellar is located under the side verandah and a separate basement cellar lies beneath the two early bedrooms. No visible evidence remains of any early kitchen house, probably timber, associated with the 1863 building.

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.

The main roof is hipped and gabled with two small gablets (gable on hip) and is punctuated by numerous chimney shafts. The gables have prominent bargeboards, decorative timber fretwork, pendant and finial, and louvered timber ventilators. The front façade has decorative detailing in render in the form of raised mouldings/cornices and label courses. The rear façade is similar in features and detailing and has a series of doors and windows opening on to the platform.

Inside, the main hallway is ornamented by such features as intricate fretwork and multiple pillars. Main hallway is also occupied by the homes original pipe organ. Historically, the Kellogg House was operated as a hotel; it was erected by Samuel Knicely in 1835 and given to a Mr. Kellogg seven years later as a wedding gift. From that time until 1977, it remained in the Kellogg family, although by the late 1970s it had been converted into apartments.

Cast-iron necklace. Held at the Birmingham Museum of Art. At first the style of the designs, especially during the Napoleonic period, was Neo-Classical, incorporating plenty of fretwork and moulded replicas of cameos. From 1810 the style changed slightly to a miniature form of Gothic Revival, incorporating the pointed arch and rose widow of the Gothic cathedral, combined with less austere, more naturalistic motifs such as butterflies, trefoils (a plant with three leaflets such as clover) and vine leaves.

In the 17th century the population decreased because of the wars and plague. The last mosque in the town was built in 1820. The first church, built in Nevrokop between 1808 and 1811 was dedicated to the Archangel Michael is known for its old Holy Gates and richly decorated fretwork ceilings and icons from 1881. In 1841 was finished the building of a bigger church - "The Assumption of Virgin Mary" with icons, painted by eminent representatives of the Bansko painting school.

The dining room features quarter-sawn oak, and the lacy fretwork has been well preserved, both on the inside and outside. The house was selected in the Goodwill Industries Designer Showcase Home in 1976, as a local part of the American Bicentennial celebration. In 1977 it was listed on the National Register of Historic Places for local significance in architecture as one of Minneapolis's leading examples of Queen Anne-style residences. Its recognition spurred research into other homes on the block.

Back of the building, 2015 This modest timber church has a rectangular nave and sanctuary with rear vestry forming a simple "T" plan form. A contemporary skillion-roofed toilet block is constructed on the northern side. Walls are of timber stud frame, now clad in chamferboard; the timber floor is supported on concrete stumps and the comparatively low-pitched gable roof is clad in corrugated galvanised iron. A front entrance porch with separate gable roof has a decorative fretwork pediment infill.

This structure is called an unxicalcoliuhqui, a type of fretwork that can also been seen at Chichén Itzá. As with the Butterfly Palace, there are circles on the walls created with reflective mica. The first rays of the sun that stream across the landscape on the day of the spring equinox are broken on their way to Teotihuacan by an elevation called the Cerro Colorado Grande. Some believe that this point was used by the ancient people of Teotihuacan to mark the equinox.

Entrance, 2015 St Michaels Nursing Home is a two-storey brick dwelling with a pyramid corrugated iron roof and a stepped down, straight roof over verandahs to each side. The house is wrapped by verandahs at both levels, although the rear and the southern sides have been enclosed. The land drops away steeply from the footpath, such that from the street, the house appears to be only one storey. A fretwork pediment with paired supports marks the entry at the upper level.

Behind it is a larger octagonal dome that encloses the sanctuary, with one other dome enclosing the choir. The wall of the south atrium was originally part of a pre-Hispanic structure and still contains the mosaic fretwork which defines the Zapotec site. The interior of the church is notable for a large number of 16th-century and other colonial-era santos (statues of the saints), many of them done in well-preserved polychrome.Santos in Oaxaca's Ancient Churches: San Pablo Mitla .

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.

Other elements were either revealed or rediscovered by the removal of introduced cladding, including original timber ceiling roses and stairs of brick rendered in stucco, left in situ under the extended front verandah. The ornate fretwork under the gable was restored as well as the gable finial and painted property sign. A new verandah balustrade was installed and the curved brick wall at the front of the property was reconstructed. In 1996 The Rocks was reopened as up-market Bed & Breakfast accommodation.

Boyle came to the Kingdom of Ireland from the Kingdom of England in 1588 with only twenty-seven pounds in capital and proceeded to amass an extraordinary fortune. After purchasing Lismore he made it his principal seat and transformed it into a magnificent residence with impressive gabled ranges each side of the courtyard. He also built a castellated outer wall and a gatehouse known as the Riding Gate. The principal apartments were decorated with fretwork plaster ceilings, tapestry hangings, embroidered silks and velvet.

The west window of the nave, above the entrance, is formed of three stepped lancets and has a pointed arch. Between the vestry and the chancel is a squint with a sliding panel, allowing the altar to be viewed from the vestry. The "fine medieval porch" on the north side has woodwork of high quality in the arch and gable, dating from either the 14th or the 15th century, including bargeboards with fretwork tracery, and timber-framed stone inner walls.

Both of these churches are richly adorned with ornamented stone carvings, including decorative arches, window and door frames, sculpted crosses, and fretwork cornices. Despite the artistic value of individual elements in the architectural sculpture of Mghvimevi, the monastery buildings lack the overall integrity and craftsmanship characteristic for its contemporaneous monuments of medieval Georgia. A bell- tower and monastic dwellings mostly date to the 19th century. There is also a set of buildings, part of the modern nunnery, founded in 2014.

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

An alternative view of Cascote Manor Notably, the town contains the 17th century building, Coscote Manor, which is listed as Grade: II listed building listed under the name "Coscote Manor and Yew Tree Famhouse and Attached Wall, East Hagbourne." The building was listed on 9 April 1952. The manor is a timber-framed 17th-century house with fretwork bargeboards and an Ipswich window. The house and surrounding hamlet were described in the 1913 travel journal Quiet roads and sleepy villages by Allan Fae.

The house was built in 1770 and was originally surrounded by fields and pasture overlooking Quincy Bay. It is constructed with an unusual hipped monitor roof, the oldest known example of this roof style to survive from the original colonies, and includes a Chinese fretwork balustrade and classical portico. Its attic contains four small rooms for servants, one with a fireplace. During the American Revolution, Quincy aided General George Washington by observing the British fleet in Boston Harbor from his attic windows.

The main internal staircase, rising from the Blackwood Street foyer, has well- crafted turned timber balusters and above the landing is a feature window with early leadlight central panes. Upstairs, there has been little alteration to the fabric of the building. The ceilings and most of the bedroom partition walls are the original tongue and groove boarding (horizontally- jointed on the walls). Many of the original fretwork panels above the internal doors survive, while others have been replaced with glass or timber.

Saidani Ma Tomb Saidani Ma Tomb, also spelt Saidani Maa Tomb, is a tomb located in Hyderabad, India. It is a state protected monument of Telangana. It is located near Hussain Sagar. The tomb in Mughal and Qutb Shahi styles with elaborate stucco decorations and fretwork screens (jalis) was built by Nawab Abdul Haq Diler Jung for his mother Hazrath Saidani Ma Saheba in 1883, during the reign of Asaf Jah VI. The 131-year old heritage structure is in need of restoration.

1880s with interior fittings from this time such as the fitted sideboard and cupboards in the dining room and a Lassetter's kitchen range. Riverview is a single storey house in the colonial Georgian tradition, two rooms deep and three bays wide. It is built of face brick with stone dressings, corrugated iron roof and a bell cast verandah to three sides with a decorative fretwork valance. There is a long service wing integral with the house and a cellar under the kitchen.

Fretwork entrance at Cairnsville, 1911 Cairnsville is a gable roofed, single-storeyed timber house of the colonial era, with a kitchen wing extending off the rear. It sits on timber stumps which are lowset at the front, but highset at the rear. The corrugated iron roof features two dormer windows with semi-circular tank roofs, as well as a window in each gable. The verandah across the front and down the right side of the house has timber posts with cast-iron balusters, brackets and valances.

Buildings of Marble Palace ... Buildings of Marble Palace ... The house is Neoclassical in style, while the plan with its open courtyards is largely traditional Bengali. Adjacent to the courtyard, there is a thakur-dalan, or place of worship for members of the family. The three-story building has tall fluted Corinthian pillars and ornamented verandas with fretwork and sloping roofs, built in the style of a Chinese pavilion. The premises also include a garden with lawns, a rock garden, a lake and a small zoo.

The Britannica Lute Wilson studied the lute at the Royal College of Music in London with Diana Poulton. He has performed widely in Great Britain and abroad, as a soloist and with other prominent musicians and ensembles, such as Michael Chance, Fretwork and The Hilliard Ensemble. A frequent guest on television and radio, Wilson has recorded numerous CDs for various recording companies. His consistent duo partner over the years has been the lutenist and singer Shirley Rumsey, with whom he co-directs the ensemble “Kithara”.

Internally, the church is unusual in having a vast and complex timber roof structure rather than the usual stone arches. In the main internal space, the roof is supported by four pairs of tall, slender cast iron columns, quatrefoil in section and with moulded collars and foliated capitals. These columns support fretwork spandrels, pierced with dagger motifs and quatrefoils which in turn support dark stained rafters decorated with a sawtooth pattern. The ceiling is painted a deep orange colour between the timbers, but was originally white.

Grayston (Bill) Ives (born 1948) is a British composer, singer and choral director. Until March 2009, Ives was Organist, Informator Choristarum and Fellow and Tutor in Music at Magdalen College, Oxford. In this role he was responsible for the daily musical life of the college chapel. He also directed the choir in recordings on the Harmonia Mundi label: With a Merrie Noyse, made with the viol consort Fretwork and featuring the works of the English composer Orlando Gibbons, was nominated for a Grammy in 2004.

In Boca de la Cañada, Crescencio Morales and Macho de Agua, rebozos, cobijas, jackets, carrying bags and more are created with fabric made on backstrap looms, with elements such as stars, fretwork and deer. The rebozo is an important traditional garment, which has regional variations. Those of blue and white over black background are woven in Ahuiran and Angahuan. Ixtle (maguey) fiber is still worked to create utilitarian items such as knapsacks and carrying bags, which in Santa Cruz Tanaco and Tarecuato are generally undyed.

A continuous open-fretwork ventilator runs the full length of the nave walls immediately below the roof springing point. The ceiling is boarded and has iron tie-rod roof trusses. The rear vestry/meeting room is a large rectangular room with framed photographs and other memorabilia decorating the walls. The grounds contain a very large camphor laurel tree on the northern side and two rock monuments, one bearing a centenary plaque and one a piece of rock from the site of the mansion "Brynhyfryd".

It is important in illustrating the principal characteristics of a two-storeyed, single-skin timber hotel of the 1910s in rural Queensland. The Grand Hotel is an example of the work of architect William Munro who was a notable architect in North Queensland and in its detailing, such as decorative fretwork and fanlights, displays elements characteristic of his architectural style. The place is important because of its aesthetic significance. The Grand Hotel with its verandahs and arched valances demonstrates the aesthetic qualities usually associated with Queensland hotels.

Opp's son Henry became a lawyer, the county solicitor of Covington County, and mayor of Andalusia. As attorney for the Louisville and Nashville Railroad, he was instrumental in extending the railroad through the present-day town of Opp, which was named in his honor. The house is a raised cottage, built on a sloping lot, with the lower story not visible from the street. The five-bay façade has a full-width front porch, which originally had ornate fretwork along its balustrade and column brackets.

The company changed its name in 1919 to Munsingwear. The company built five brick and concrete buildings between 1904 and 1915, eventually creating a complex covering and employing up to 2000 workers. The five- to eight-story buildings had long rows of windows, and although the buildings mostly had a plain appearance, the architects added some details such as slightly projecting cornices, fretwork friezes, and fluted Doric columns. The oldest of the buildings, along Glenwood Avenue, is notable for being the city's first entirely reinforced concrete building.

Lakhota fort Darbargadh Palace Darbargadh (Maharajah's palace), the old royal residence of Jam Saheb and the most important historical complex in Jamnagar, reflects the fusion of Rajput and European styles of architecture. The semi-circular palace complex consists of a number of buildings with very fine architectural features and detailing. It has some fine examples of stone carvings, wall paintings, fretwork jali- screens, ornamental mirrors, carved pillars and sculpture. The walls outside have carved jarokha balconies in the Indian tradition, a carved gate and Venetian-Gothic arches.

The ground level central hallway is decorated with an intricate fretted semicircular timber panel positioned overhead midway down the hall. A steep and narrow, stained timber staircase connects the two floor levels towards the rear of the house. Most windows in the house are multi-paned double-hung sashes, except at the front where French door with louvred shutters have been installed on both the upper and lower levels. Concave metal hoods with decorative timber fretwork brackets are fitted to windows on both side elevations.

Grand Entrance Hall At the time the house was constructed, the heavy bronze doors which grace the foyer (and a similar pair which open from the library to the porte-cochere) cost $14,000. The original imported rug was designed to match the elaborately molded plaster ceiling. The fretwork panels in the stairwells serve as echo chambers for the four keyboard Kimball organ in the music room. Slipcovers, which the owner never removed (this is also true for all draperies in the mansion), hid the Italian velvet draperies.

The first floor is organised about a central corridor which is punctuated by arched openings and accommodates 12 bedrooms, a recreation room and two storage cupboards. Verandahs run to the front and rear, the narrow rear verandah accommodating bathrooms and toilets at each end. Short transverse corridors connect front and rear verandahs. The bedrooms open onto the corridor and the verandahs four- panel timber doors with fixed fretwork transom windows open onto the corridor and French windows with pivoting glazed fanlights open onto the verandahs.

Barker, from one of Methuen's original families, had gone to seek his fortune in Tennessee and sent home enough money to build a house. The old farm house was moved and on its site was built this imitation of a Southern mansion. The details of the house, such as the entrance, the Doric columns and frieze board above, classify it as Greek Revival. The builder freely adapted traditional elements: rows of dormers, triangular windows in the gable end, and railing above the porch mimicking gingerbread fretwork.

The fifth story echoes the fourth-story fenestration and creates the building's middle section by an elegant string course of Greek fretwork. The bays above are elongated to enclose eleven bays of four-story stacked fenestration, with each window divided by decorative aluminum spandrels repeated from the base. Above the ninth story is a wide entablature, composed of a blank architrave and frieze, and a simple cornice. The interiors retain their original design and continue the spare ornamentation with emphasis on fine materials and abstracted geometric motifs.

Glentworth is a single-storeyed timber house on stumps, with a central axial corridor and wide verandahs to three sides. It has a pyramid-shaped, corrugated iron roof crowned by a large timber finial. Convex iron-sheeted verandah roofs are separated from the main roof by a small cornice and paired timber console brackets. Verandah decoration is restrained: slender timber posts with capitals and brackets; cross-braced timber balustrading; and a timber fretwork pediment of intricate design crowned by another tall timber finial, above the entrance.

Entrance, 2014 Surrounding gardens, 2014 Warrawee is a vernacular style residence, with a most impressive facade and a full sub-floor. The twelve foot wide verandahs have elegant cast-iron balustrading, and brackets and are lined underneath with ripple iron. The verandah portico with its intricate fretwork pediment, groups of columns, landing, gates and iron lace is quite spectacular, complemented by the twin curved stairs with their Scottish thistles in cast-iron panels. The front verandah is supported by emphatic brick piers with elaborate capitals.

Upstairs originally comprised a central hallway with two rooms on the left and three on the right, and a kitchen incorporated at the rear. The upstairs windows are all of the step-out sash type, and doors are of panelled cedar. The fanlights are casements with opaque, diamond pattern glass, though grooves suggest the former presence of fretwork panels. The inside walls are lined internally with vertical joint boards and externally with chamferboards which are believed to have been milled locally at Pattersons, Toowong.

The drawing room and dining room contain the best evidence of Dods internal refurbishment but also contain bay windows attributed to Stanley. Decorative elements like the fireplaces, timber fretwork to the entrance and the cupboard below the stair and upstairs details, including the dormers, have been attributed to Dods. Several outbuildings associated with the repatriation hospital were constructed during this period, including an open-air ward (1919), garage () and orderlies' quarters (1928). These are important to our understanding of how the place functioned as a hospital.

David Hoadley (of Curtis and Hoadley), a prominent New Haven builder-architect, supervised the construction. The house has the form of a Greek temple with six full-height Corinthian columns supporting a heavy entablature and low flushboarded pediment. The front (west) wall has five bays with recessed panels between the first and second story windows except in the center bay, where pilasters support a high entablature over the double entrance door. This doorway is surrounded by side and overlights whose frames are decorated with fretwork.

Idol Fret was a rock band from Oldham, England, formed in the late 70s and mostly known for playing in clubs and pubs around the east of Manchester, Rochdale and Oldham. The band's only official release was Bad Boy, a single released around 1980. This was followed up with an album-length cassette called 'Fretwork'. The original band, called Idle Fret, formed around 1976/77 in Manchester and played at Deeply Vale Free Festival in 1976 or 77, and recorded four songs as a demo tape.

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.

Fretwork is a consort of viols based in England, United Kingdom. Formed in 1986, the group initially consisted of six players, while it is currently five viols. Its repertoire consists primarily of music of the Renaissance period, in particular that of Elizabethan and Jacobean England, arrangements of the music of Johann Sebastian Bach, and contemporary music written for them. The group has toured all over the world, with tours of Japan and the United States, and three visits to Russia, the first in 1989, when it was still a part of the Soviet Union.

They initiated a series of courses for voices and viols on the Greek island of Evvia with Michael Chance, and have also been invited twice to teach on the annual Conclave of the Viola da Gamba Society of America. It currently teaches each year in the first week of Dartington International Summer School. In addition to its performances of earlier music, Fretwork has been active in commissioning new works for viol consort. Its 1997 recording Sit Fast includes new works by such composers as Gavin Bryars, Tan Dun, and Elvis Costello.

It also includes music by Salamone Rossi and Leonora Duarte. Finally it includes the first recording of 'Birds on Fire' itself, a three-part piece by Orlando Gough written for Fretwork in 2001. This work is based on the novel by Aaron Appelfeld "Badenheim 1939", telling the story of a group of Jews who holiday in a resort near Vienna in the spring of 1939. The town gradually becomes a ghetto, and the band of musicians gradually rediscover their Jewish roots to break out from the Vienese schmalz to play klezmer tunes.

The Hutchins House is a 2-1/2 story wood frame structure, basically rectangular in shape, with a number of ells and extensions to the sides and rear. The main block has a front-facing gambrel roof, which extends over a partially recessed porch extending the length of that section's right side. The porch is a modern recreation of the house's original porch, which had been removed, with fretwork decoration that differs slightly from the original. Gambrel-roofed dormers pierce the right side of the roof above the porch.

The gable wall features an open pediment in the style of Greek revival architecture. Photographs of the hotel show an open verandah with decorative fretwork. A fire partially destroyed the extension and rather than see this historic building demolished, it was purchased by the Government of Nova Scotia in 1985 and moved to its present site near the West River Bridge on lands formerly owned by the Scott Paper Company. Currently, the building is used as a Visitor Information Centre and also houses an interpretive centre for the history of the area.

The buildings are aligned with the cardinal directions and the movement of the stars, with the idea of creating a place that would be a meeting point between heaven and earth. While the main ceremonial center has been excavated, there still remains many kilometers square of site to explore. Located at the eastern end of the Central Valleys, another major archaeological site is the ancient Zapotec center of Mitla, which in the Zapotec language originally meant "place of the Dead." Mitla is famous for its unique ancient stone fretwork.

In Pinotepa Nacional, decorative elements include animals, flowers, human figures, fretwork, moons, suns, fish and insects. The ceremonial huipils of the Tzotzils have maintained aspects of pre Hispanic feather art with white feathers found on the chest and lower hem. In Ocotepec and Cuquila in Oaxaca, which are high in the Mixtec mountains, there are huipils made of wool to combat the cold with cotton ones usually for festive occasions. Yalaltec huipils in Oaxaca are very simple with decoration only on a chest and back panel with various colors and some fringe.

A famed Zapotec weaver was Arnulfo Mendoza of Casa Serra Sagrada in Teotitlan, owner of La Mano Majica gallery in Oaxaca City.Arnulfo Mendoza The rugs are handcrafted from wool and most of the designs are woven from the craftsmen's memory. Designs include Zapotec and Mixtec glyphs and fretwork, Navajo designs (a contentious issue) and more contemporary designed including reproductions of works by famous artists such as Picasso, Joan Miró, Matisse, Diego Rivera or Rufino Tamayo. The making of the rugs begins the washing of the raw wool to rid it of dirt and residues.

The main > entrance, on Bush street, is formed by a Roman arch of massive proportions > and striking design. The vestibule is rectangular in shape, is finished in > antique oak panelling, with pilasters and arabesques, and is lighted by > thirty-two 16 candle-power lamps and an electrolier of eight 82's. In the > beautiful foyer is another large electrolier. > > In the auditorium, behind the eight proscenium boxes, with dome-shaped > canopies supported by columns, rise arches of Indian fretwork carrying > pillars surmounted by 88 candle-power lamps enclosed in opalescent globes > shaped like pineapples.

Carthona is described by the Heritage Council as an "impressive two storey mansion with cellars, of mannerist Tudor Gothic style. Built of sandstone, exterior there is a profusion of gabled slate roofs having castellated parapets and balconies dominated by tall tudor chimneys. Ground floor windows are pointed Gothic style having three centred heads and fretwork while first floor windows are flat arched and shuttered." It was built in 1841 by Sir Thomas Mitchell and it is believed that many of the keystones of doors and windows were carved by him.

The town boasts many architectural monuments from the period, 383 in all, most of which have been restored to their original appearance. Collections of ethnographical treasures, old weapons, National Revival works of art, fine fretwork, household weaves and embroidery, national costumes and typical Bulgarian jewelry have also been preserved. It was here that the first shot of the April Uprising against the Ottoman domination was fired in 1876. Since 1965 the National Festival of Bulgarian Folklore takes place approximately every five years in Koprivshtitsa, gathering musicians, artists and craftsmen from across Bulgaria.

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

The top leaf of the door has a leadlight panel with a similar pattern to the other dining room windows. The central hall opens off the living room and runs to the informal living room at the rear of the house providing access to the main and second bedrooms, the bathroom and the dining room along the way. The hall has a high ceiling and various high- waisted three-panel doors, with timber fretwork fanlights above, open off it. A clear finished cupboard in the hall contains the original silky oak telephone stand.

The lofty space of the interior has a vaulted ceiling lined in timber VJ boarding braced with timber ribs and punctuated with ceiling roses with timber fretwork. Light fittings and ceiling fans are suspended from the ceiling on stiff rods. Lancet windows infilled with diamond-patterned leadlight with glass in pale tones are located along the side walls and the southern elevation has an arrangement of four similar windows highset in the wall, flanked by two stained glass rose windows. Most of the windows are now framed in aluminium.

The stables group consists of stables, a building containing a coach- house and harness room, underground water tanks, stallion boxes, a covered yard and a quadrangle. The present house built in 1955 is not included in the heritage-listed estate. Three buildings of the group enclose a quadrangle which was originally of raked gravel (now grass). The stables building, which faces north and which contains twelve loose boxes, is long and narrow in plan, built of sandstock brick, with a gable roof finished with iron ventilators and decorative fretwork barge boards.

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

Some of these are of exceptionally high quality; a screen and gates known as the "White Gates", at Leeswood Hall, Flintshire, has been described as one of the finest of its type in the United Kingdom, and has been attributed to the Davies brothers on the basis of distinctive fretwork patterns shared with other of their designs.Ayrton & Silcock, Wrought Iron and Its Decorative Use, Courier Dover Publications, 2003, p.112. . The Leeswood gates have also been suggested as the work of Bakewell. Nikolaus Pevsner described the Davies brothers' work as "miraculous".

Both houses have narrow front verandahs adjacent to the street pavement. These have separate convex galvanised iron roofs, timber posts with replaced fretwork brackets, cast-aluminium balustrading and brick end walls of English bond construction. Timber lattice has been added to the verandah of the higher house. No. 8, the top house and the larger of the two, consists of a central brick core with four rooms, an end hallway which leads through the house to an attached kitchen/dining room and bathroom (twentieth century additions), and two attic bedrooms.

A second house (later "The Rocks Guesthouse") was constructed in the grounds of JM Black's former residence between and 1900., It was a combined gabled and hipped roof structure consisting of four to five rooms with a central hallway, front verandah covered by a curved corrugated iron awning and a skillion verandah at the rear. The rooms were large and airy with high ceilings, picture rails, timber fretwork ceiling roses and interior partitions of tongue-in-groove boards. The main drawing room had a large bay window framed by an arch.

The vestibule is clad in marble upon a black granite base and features original bronze sidelights flanking each doorway and adjacent recessed wood-paneled telephone niches. The T-shaped central lobby is finished with multicolor terrazzo floors, golden-veined Genevieve marble for the walls, and high plaster ceilings. The cream-colored terrazzo is bordered with black and green terrazzo cross bands to reflect the geometric patterns of the ceiling beams. Marble pilasters detailed with Greek fretwork divide the walls into three bays, while four freestanding, rectangular marble-clad columns dominate the central space.

Born in San Diego, California, he first came to attention as the bass guitarist for rock band Three Mile Pilot. Smith's distinctive playing style and complex fretwork technique defines the overall sound of the band. This was clear as early as their first record Nà Vuccà Dò Lupù, on which Smith's bass was the only harmony instrument. Rumored attempts to change Three Mile Pilot's sound during the band's short tenure with major label Geffen Records persuaded Smith to separate from the band (and the label) and form Pinback with Rob Crow.

It retains many early fittings and fixtures, including the choir loft, pews, altar, decorative fretwork, the 1930s painted trompe l'oeil murals on the sanctuary wall and altar, and statuary which integrates with the wall mural to re-inforce the three- dimensional effect. The place is important because of its aesthetic significance. The exterior with its decorative verandahs, porch and spire is aesthetically pleasing, and the place is a prominent landmark in the Thursday Island townscape. The place has a strong and special religious significance with a mainly islander community for cultural and spiritual reasons.

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.

Usually decorated with fretwork or relief ornamental motifs, the pulvino reaches its maximum expression in the Byzantine architecture; some examples can be found in the early Christian architecture of Ravenna. Its particular convex shape gives the pulvino the structural function of concentrating the tensions generated by the loads above it and passing the tensions on the column located below the capital. An example can be seen in the church of San Lorenzo in Florence designed by Filippo Brunelleschi around 1420. There he resorted to additional segments of entablature improperly defined as "Brunelleschian nut".

To the northern (rear) of this bay the verandahs are timber framed with simple turned balusters, stop chamfered columns and fretwork brackets and infill mouldings. To the south of the central bay the verandah is stone on the ground level and timber above. The verandah fascia, at first floor level, is lined with a decorative timber panel with trefoil arched cutouts. Internally, the building is arranged around a central corridor running east west through both levels of the building from which smaller rooms are accessed, with major rooms in the transverse wings.

He carved a wood bird, made wood chips, decorated them with fretwork. He hung the bird above his son's bed, and the bird suddenly came to life: it began spinning and moving in the hot air that was coming from the furnace. The boy woke up, smiled and exclaimed: “Well, here is the sun!” From that day on, the child began to recover rapidly. So, miraculous power was attributed to the wood chip bird and it was called the “Holy spirit”, the guardian of children, the symbol of family happiness.

Richard Old (1856-1932), was an English woodcraftsman and prolific model maker, specialising in fretwork. He was born in Staithes, though for most of his life he lived at 6 Ruby Street in Middlesbrough and it was in that small terraced house that he made all of the models - over 750 of them - for which he is celebrated. A cabinet maker by day, Old would work obsessively through the night on his hobby. Many of the models were scaled down versions of real buildings and other structures famous for their architecture.

The former Pfeiffer house stands on Day Dawn Ridge on gently sloping land and is a single storey timber building, L-shaped in plan, with an exposed stud frame. It is encircled by verandahs and is on low stumps, being raised slightly on the northern side. The roof is of an unusual form, having 3 parallel gables with a barrel vaulted hall placed between them, all roofed in corrugated iron. The verandahs have a convex corrugated iron awning supported by timber posts with fretwork brackets and square section timber balustrades.

His work includes decorative elements like the fireplaces, timber fretwork to the entrance and the cupboard below the stair. Shafston House remained the McConnel home until and in 1915 it was leased to the Creche and Kindergarten Association as a teacher training centre. In 1919, in the aftermath of the Great War of 1914-1918, the property was acquired by the Commonwealth government and converted into an Anzac Hostel for the care and treatment of totally and permanently incapacitated ex- servicemen. Anzac Hostels were established in most Australian states at this period.

HAGA contracted Polypipe Ventilation to manufacture over 200 ventilation units which were transported to HAGA's factory in Germany and installed into the cladding for the fretwork. Additionally, HAGA contracted Wicona to assist with the manufacture of the cladding panels, making it the largest project in the UK for the company. Starting in early 2010, Wöhr Parking Systems installed an automatic car parking system for 339 in the three basement floors of the building. Cars access the car park by entering through Building B and entering one of the four lift-garages.

Warringa is a large, single-storeyed brick residence located on a prominent site on Melton Hill, overlooking Cleveland Bay. The house is situated in a suburban environment among dwellings of a similar or earlier period, most of which are set amid tropical gardens. The house has a traditional plan form: a square core with pyramid-shaped roof of corrugated galvanised iron, and wide encircling verandahs with roofs separate from the main roof and decorated with cast-iron balustrading, fretwork brackets and double timber posts. A highly decorated portico projects over front steps centrally positioned.

Blue-and-white Covered Jar with Fretwork Floral Design in Red and Blue Glaze, excavated in Baoding. In Chinese ceramics the period was one of expansion, with the great innovation the development in Jingdezhen ware of underglaze painted blue and white pottery. This seems to have begun in the early decades of the 14th century, and by the end of the dynasty was mature and well-established. Other major types of wares continued without a sharp break in their development, but there was a general trend to some larger size pieces, and more decoration.

The church interior is impressive; the nave is separated from the aisles by octagonal columns supporting pointed arches. The nave is spanned by timber braced trusses with a king post and quatrefoil motifs to the haunches (the part of the arch between the top of the arch and the supporting pier); an ornamental timber fretwork truss/arch is centred over the chancel. Simpler scissor trusses run the length of the aisles. The diagonally boarded timber ceiling with exposed rafters is finished with a timber frieze with quatrefoil motifs.

A timber-panelled reconciliation room is located to the north-eastern corner. The church also contains some fine furnishings including cedar pews decorated with gothic motifs and fretwork, a marble baptismal font, and an ornamental holy water stand. The grounds include a steel bell suspended from an approximately steel frame in the southern corner, a stone memorial in the centre of a circular drive to the north east, and several mature fig trees. The site also contains newer school buildings which link to the church via a walkway abutting the western vestry entrance.

During the Soviet era, the Lurji Monastery building was used as a factory, a warehouse, and finally, as the Museum of Georgian Medicine. In 1990, the Lurji Monastery was restored to the Georgian Orthodox Church and Christian services were resumed. In 1995, the old dome was replaced with a new conical one which was more in line with traditional Georgian design. Of the original 12th-century structure, only an apse with large windows adorned with fretwork framing, lower half of southern wall, and a couple of stone rows of western and northern façades survive.

Venice is an impressive and substantial two storeyed Late Victorian gentleman's residence designed in the Gothic Revival style. The house contains a symmetrical front facade incorporating a central projecting entry bay flanked by gablets and one storey verandahs featuring elaborate timber fretwork. In plan the house is also symmetrical with a centrally placed hallway of generous proportions incorporating a grand staircase, behind which is located an intricately patterned stained glass window. The ground floor reception rooms are located either side of the hallway while to the rear right-hand side is sited the service wing.

Architecturally and aesthetically, the exterior of the front (Jonson Street) component still presents a 1916 post office idiom, although this gradually degenerates towards the rear of the building and the extensive additions. The level of decorative detail has also been diminished with the replacement of original signage, roof sheeting and verandah fretwork and flooring. Externally and internally, the building appears to be in relatively sound condition, well maintained and with no major defects visible. The roof and subfloor spaces were not inspected and the installation of internal linings conceals the original structure and finishes.

The fire broke out after smoke from an unswept chimney had seeped through an unchoked vent in a partition between the wooden and main walls in the Field Marshal's Hall. The wall began to smoulder and a fire broke out in the roof of the Small Throne Room of the Winter Palace. The dry waxed floors and the oil-painted fretwork caught fire immediately. The Court were at the Mikhailovsky Theatre when an aide-de-camp entered the imperial box and informed Prince Volkonsky, one of the ministers then present.

Amity is built fronting the Bulimba Reach of the Brisbane River to the northeast, with access from Welsby Street to the northwest. It is a single-storeyed chamferboard residence with timber stumps and a hipped corrugated iron roof with cast iron ridge cresting. The building has verandahs to three sides fronting the river, and a later addition at the rear which has sub-floor laundry and car accommodation. The building is symmetrical to the river frontage, with a central entry which has a slightly projecting gable with a decorative timber fretwork panel, timber finial and paired timber posts.

Their second recording of the complete Fantazias by Henry Purcell, including the two in Nomines, for HMU (Harmonia Mundi USA) was selected as Editor's Choice in Classic FM Magazine; where Fretwork's playing was described as "all one could wish for"; and it won the Gramophone Award on the Baroque Instrumental section 2009. In 2008, they recorded two tracks on Ryuichi Sakamoto's album Out of Noise. Fretwork was featured on the soundtracks of two Jim Jarmusch movies, Coffee and Cigarettes (2003) and Broken Flowers (2005). Other filmtracks include The Da Vinci Code, Kingdom of Heaven, The Crucible, La Fille d'Artagnant and many others.

Teaching block A (infants school), located fronting Kent Street to the southwest, consists mostly of a series rooms opening off an articulated northeastern verandah. The central section contains the altered original building, and additions have occurred to the northern end with a later school building being added to the eastern corner. The building, a single-storeyed weatherboard and chamferboard structure, has masonry and concrete stumps and corrugated iron gable roofs with large dormer windows and a spire to the central section. Gables have decorative timber eave brackets and fretwork panels, and verandahs have timber brackets and posts with rail balustrades.

Rincewind holds the Chair of Experimental Serendipity, the Chair for the Public Misunderstanding of Magic, and the positions of Professor of Virtual Anthropology, Egregious Professor of Cruel and Unusual Geography, Reader in Slood Dynamics, Fretwork Teacher, Lecturer in Approximate Accuracy, and Health and Safety Officer. These apparently unwanted positions were awarded to Rincewind provided that he not receive any salary. Prior to receiving these titles, Rincewind held the post of Assistant Librarian, but it is unclear whether or not he retains the office. Rincewind is often concerned with his life, as many people all across Discworld have attempted to take it.

The building features limestone with iron ornaments on its first two stories; a cornice with a terra cotta fretwork pattern at the top separates the second and third floors. The top of the building features a terra cotta frieze and a cornice with decorative patterns. The Coca-Cola Company operated out of the building from 1904 until 1928; the building was the company's second office outside of Atlanta. The building was the only Coca-Cola syrup manufacturing plant in the Midwest until 1915; it is now the only surviving Coca-Cola plant from before World War II outside of Atlanta.

New shop fronts incorporating polished stone veneer and large square shop windows were also installed by Burns, Johnsson and Humphreys. The total cost of the renovations was estimated at . Other changes included the installation of electricity at the end of the 1920s, and during the 1930s the awning frieze was changed from fretwork to a solid panel carrying the Boland name, and the balustrade on the parapet was converted into a solid wall. Another important change occurred in 1936/37 when, as part of the firm's 75th anniversary celebrations, the store was extended to the east onto part of an adjacent allotment.

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.

Pleasure pavilions in "Chinese taste" appeared in the formal parterres of late Baroque and Rococo German and Russian palaces, and in tile panels at Aranjuez near Madrid. Chinese Villages were built in the mountainous park of Wilhelmshöhe near Kassel, Germany; in Drottningholm, Sweden and Tsarskoe Selo, Russia. Thomas Chippendale's mahogany tea tables and china cabinets, especially, were embellished with fretwork glazing and railings, c. 1753–70, but sober homages to early Qing scholars' furnishings were also naturalized, as the tang evolved into a mid-Georgian side table and squared slat-back armchairs suited English gentlemen as well as Chinese scholars.

122 The building followed a style that was then typical of the Moravians. There was no clear distinction between residential accommodation for congregation labourers and the chapel. Rather, a hall in the centre of the residence served as a space for communal worship. The hall occupied the central part of the first and second floors of the building and was distinguished by a single row of tall windows. The natural lighting, furnishing and decor of the hall have been described as giving a ‘lightness of touch’ and a ‘sense of rest and stillness’ while ‘the organ’s exuberant fretwork case increased the elegance’.

This is filled with a triangular panel of painted timber fretwork and beyond which is the entry door to the library. On either side of the door are a number of windows. A modern timber pergola has been inserted in front of the northern section of this building face along with some paving and garden beds (all by 1995, pergola sheeted by 2001). The interior comprises a large hall, now used as a library, with a stage area at the rear flanked by small dressing rooms, and two L-shaped rooms on either side of the street entrance.

A random rubble stone wall to the underside of the roof trusses creates a recessed central altar with a door to either side accessing rear side rooms. The altar has a central rose window consisting of coloured glass in a fretwork frame, below which is a large shelf surmounting a marble cross set in the stone wall. A free-standing random rubble pulpit is located at the southern side of the altar. The rear side rooms are enclosed with fibrous cement sheeting, and each has a sash window at the rear and a door opening onto a recessed porch behind the altar.

The southeast bay has a textured glass panel in place of a similar image which was originally located there. Aberfoyle has ornate pressed metal ceilings and cornices, woodgraining to internal doors with fretwork panels above, and stencilled friezes, with a portion of the original frieze surviving intact in the entry foyer. Internal walls are lined with vertically jointed boards, and some early changes involving doorways and partition walls are evident in the fabric. The entry foyer has an arched timber opening to the narrower hall beyond, and the two middle bedrooms have early linoleum floor coverings.

Access to the front room is from the public space of the 1887 structure, and to the rear room from the rear yard and through a short transverse corridor within the former board room. A notable feature of the 1887 building is its provision of natural light and ventilation. The large, tapered-wall roof lantern ( high) with operable windows straddles the hallway and front two offices, bathing them in natural light. Fanlights are located above all doorways and there is a variety of high level windows in external timber walls throughout as well as timber fretwork ceiling roses in each of the rooms.

The recess to the north west houses an entrance vestibule to which access is provided from the porches off the principal facade. The recesses on the other three sides of the former long room, house an office to the south east, opposite the entrance vestibule, and transitional spaces to doors on the north west and south west leading to offices flanking the long room. Internally the building generally has timber boarded floors, plastered walls and timber boarded ceilings with central fretwork panels featuring intertwined lettering "VR". Surviving in this building are several intact, though occasionally painted, fireplaces.

At some point near the early 19th century, gangya started to be made with a distinct 45-degree angle near the terminus. Opposite the hook-like fretwork on the gangya, exists a curved cavity. It has been suggested that this cavity is representative of the trunk of an elephant, others contend that it is the mouth of the naga (serpent) with the blade being the tail, and still others contend that it is in fact the open mouth of an eagle.Two Filipino swords, a kampilan (longer) and a kalis (shorter), photographed side by side to demonstrate their size relative to each other.

Although it was one of the earliest skyscrapers in Malaysia, it still remains as a famous landmark due to its architecture. It was designed by BEP (Kington Loo) as well as Akitek MAA, and owned by Urban Development authority of Malaysia (UDA). It represents a significant shift to the firm’s design direction away from high modernism. The complex was built to resemble the decorative programs of a mosque, thus it displays features of several Eastern and Middle Eastern Islamic traditions, along with some Saracenic pointed arches, shiny white fretwork, as well as eight-pointed geometric stars.

The verandahs are lined with cast iron balustrading. Centrally located on the symmetrically arranged eastern facade of the building is the entrance door which is emphasised with a gable projecting from the main roof and projecting above the verandah line of the building. The gable features a triangular pediment supported on paired timber posts, projecting forward from those supporting the verandah, and these are infilled below the pediment to the level of the verandah line with timber fretwork panels. The principal entrance, a four panelled unpainted timber door, with the upper panels removed and glazed substituted for the panelling.

As the original timber gates were in poor condition, replicas were constructed in their place. In 1952, 20 Wharf Street suffered slight damage by a cyclone, and decorative fretwork across the ridge of the tower was blown away. Following Elizabeth Drew's death in 1957, the residence was transferred to Samuel John Drew and William Roy Drew (son of Frederick William Drew and Samuel Drew's grandson). As both had homes elsewhere, it was decided to convert the house into two flats to provide an income sufficient to pay the rates on what was effectively three blocks of land.

The main entry is from the northwest via a gabled entry with fretwork panel, paired posts and timber louvred doors, and a panelled timber entry door with original hardware. French doors with fanlights and timber shutters open from each room. The central transverse section consists of two large projecting bays, to the northwest and southeast, surmounted by a timber finial with bracketed eaves, sash windows and shutters. The southern section has two parallel hipped sections, with a flat roofed section between, surrounded by a recent verandah with a curved corrugated iron awning and timber details to match the earlier section.

Internally, there is a central L-shaped hall, with bedrooms in the northern section and living and dining rooms in the central section. The southern section has been altered and refitted, with a recent kitchen and family room, with two skylight shafts inserted in the hall area. The building has cedar joinery; including a fireplace surround, fretwork ceiling roses and internal doors with fanlights, original door hardware, tongue and groove walls and boarded ceilings. The northern bedroom has a fibrous cement ceiling and a large opening which originally housed four-fold cedar doors, which are currently in storage.

It was established as a sacred burial site by the Zapotec, but the architecture and designs also show the influence of the Mixtec, who had become prominent in the area during the peak of Mitla settlement. Mitla is unique among Mesoamerican sites because of its elaborate and intricate mosaic fretwork and geometric designs that cover tombs, panels, friezes, and even entire walls of the complex. These mosaics are made with small, finely cut and polished stone pieces that have been fitted together without the use of mortar. No other site in Mexico has this decorative work.

The interior was considered to be remarkably well finished, with very fine ceilings of varnished pine, cut into panels and with fretwork borders. Little more than 3 months after the November opening, the Church of the Sacred Heart was severely damaged by Cyclone Leonta, which struck Townsville on 3 March 1903. The building was unroofed (over 2 tons of iron sheeting) and substantial water damage to the interior resulted. The damage was repaired, but the original plan to build a belltower and extend the transept back towards Castle Hill in order to create a chapel behind the altar, was never carried out.

Mughal Gardens were based upon Timurid gardens built in Central Asia and Iran between the 14th and 16th century. A high brick wall richly decorated with intricate fretwork encloses the site in order to allow for the creation of a Charbagh paradise garden - a microcosm of an earthly utopia. The Shalamar Gardens are laid out in the form of form of a rectangle aligned along a north–south axis, and measure 658 metres by 258 metres, and cover an area of 16 hectares. Each terrace level is 4–5 metres (13–15 feet) higher than the previous level.

The side windows, which are sashed, are shaded by galvanised iron hoods with timber fretwork infill and curved timber brackets. Each house is a mirror reflection of the other, with the front door opening into a long hall along the brick party wall. This hall is broken into two sections by an arched screen, with the stairway rising from the rear. The core of each house consists of a pair of reception rooms separated by folding doors on the ground floor, and three bedrooms and a bathroom upstairs, both levels opening onto the verandahs front and back.

The study and the breakfast room occupy the two smaller rooms at the rear, with the breakfast room featuring a particularly fine Edwardian frieze of alpine scenery. The stair is narrow and steep, starting in a spiral ninety-degree turn, with a straight flight to a landing and a short return flight to the upper landing. The squared balusters, handrail and turned newels are typical of a mid-Victorian stair. The fretwork on the side of the steps and the panelling underneath the stair are the only two instances of ornamentation in what is a relatively austere interior.

The 1999 ECM New Series recording In Darkness Let Me Dwell features new interpretations of Dowland songs performed by tenor John Potter, lutenist Stephen Stubbs, and baroque violinist Maya Homburger in collaboration with English jazz musicians John Surman and Barry Guy. Nigel North recorded Dowland's complete works for solo lute on four CDs between 2004 and 2007, on Naxos records. Paul O'Dette recorded the complete lute works for Harmonia Mundi on five CDs issued from 1995 to 1997. Elvis Costello included a recording (with Fretwork and the Composers Ensemble) of Dowland's "Can she excuse my wrongs" as a bonus track on the 2006 re-release of his The Juliet Letters.

"Dancing with Spin Doctors," adds a whole new aspect to Alder's repertoire. He lays down and electric finger-style groove with help from Billy Sheehan on bass and Sam Cartwright on drums that has Eric Johnson-esque overtones and feels completely at home nestled in amongst the acoustic bulk of this collection. For sheer beauty both "Sophrosyne" and "Precious Moments" show the delicate side of Alder's fretwork as he coaxes sweetness from a baritone guitar that I haven't heard since Pat Metheny's One Quiet Night. Other highlights include "Circuitous," a fingerstyle gem and the spirited "Three Good Reasons To Play," a duet written and with Luca Francioso.

The Buckingham House is located in downtown Norwich, on the south side of Main Street just east of the Otis Library. It is a 2-1/2 story brick structure, with a main block three bays wide, topped by a hip roof with a steep gable above what was originally the main entrance. The roof has extended eaves, which are adorned with modillion blocks A recessed wing extends to the left side, fronted by a single-story porch covered by a curving metal roof and supported by posts with open fretwork. The interior has been extensively altered, retaining only a small number of original features, including fireplaces.

Some of the designs can be traced back to images found on codices and pre Hispanic cultures. Most of the designs are based on the flora and fauna of the Costa Chica region of Guerrero, especially those near Xochistlahuaca. These include petate mat patterns, fretwork, suns, stars, mountains, rivers, dogs, horses, donkeys, turtles, water bugs, birds, double headed eagles and various flowers. There are mathematical formulas that create patterns such as “pata de perro” (a kind of leaf that grows along the Santa Catarina River), “flores de piedra” (stone flowers), curvas de cola de tortuga (turtle tail curls), “flores de pina” (pineapple flowers) and “patas de gato” (cats’ feet).

Winifred Rawson tending her son on the veranda of The Hollow, near Mackay, Queensland, ~1873 A heritage listed building in Hungary The veranda has featured quite prominently in Australian vernacular architecture and first became widespread in colonial buildings during the 1850s. The Victorian Filigree architecture style is used by residential (particularly terraced houses in Australia and New Zealand) and commercial buildings (particularly hotels) across Australia and features decorative screens of wrought iron, cast iron "lace" or wood fretwork. The Queenslander is a style of residential construction in Queensland, Australia, which is adapted to subtropical climates and characterized in part by its large verandas, which sometimes encircle the entire house.

Two painted brick chimneys rise through the main roof. Addressing Percy Street, the front elevation is symmetrical about a projecting gable-roofed porch to the upper storey below which a small hipped roof shelters the ground floor main entrance steps. The projecting porch is crowned by a metal cross to the apex of the gable and is distinguished by decorative fretwork (incorporating a cross motif) to the arches and infill to the paired chamfered timber posts. The upper verandah is punctuated by pairs of chamfered timber posts carrying plain square timber capitals and the solid balustrades are clad with weatherboards and lined with vertical tongue and groove boards.

In 1981, the place was closed as unfit for human habitation and became subject to vandalism and weather deterioration. After some renovations, in 1987, the hotel was acquired by York Motels Pty Ltd (1987-1993) including local builder David Ayoub. He rebuilt the verandahs, using wrought iron work manufactured in Sydney to match the originals, but the fretwork arches on the lower level and the bullnose verandah roof were not reproduced.A photograph showing the original verandahs is reproduced in Ball, J., Kelsall, D. & Pidgeon, J., Statewide Survey of Hotels 1829-1939, southern region, Western Australia, National Trust of Australia (WA), Perth, 1997, entry H3.

The core has a long, wide central hallway, from which doors open off to the front parlour and rear dining room to the left, and to three equal-sized bedrooms to the right. Above each of the internal doors is a decorative timber fretwork ventilation panel. Three folding cedar doors between the parlour and dining room, can be opened to create one large entertaining space. The dining room has a fireplace backing onto the hallway wall, with a fine cedar fireplace surround and the chimney clad with the same wide, tongue and groove, single- bead timber as lines the walls and ceilings throughout the core.

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.

Internally, the former residence is accessed via a set of timber stairs in the south eastern corner of the building. The stairs have turned balusters and substantial newel posts with chamfered rectangular tops. On the first floor, the former residence partition walls have been removed, however the remaining large space retains its timber lined ceilings, a single fretwork ceiling ventilator panel, a former kitchen fireplace, and a fireplace in the south eastern corner with fine timber panelling and ceramic tiled surrounds. Some of the decorative ironmongery remains, including wall ventilator panels, escutcheon plates, and a teardrop- shaped door handle at the ground floor entrance.

The most vibrant feature is Howard Cook's outstanding 16-panel mural, "San Antonio's Importance in Texas History." The mural is a fresco, a technique of paint applied directly over wet plaster, and spans , making it one of the largest frescoes in the nation. Cook's mural evokes historical events in Texas, including the arrival of the first Conquistadors, the signing of the Texas Declaration of Independence, and the arrival of the railroad. The postal lobby features its original bronze and glass-topped tables, with 41 bronze sales window-boxes capped by a continuous band of fretwork and divided by marble Doric pilasters that rise to a wide dentiled cornice.

The principal apartments of the castle were decorated with fretwork plaster ceilings, tapestry hangings, embroidered silks, and velvet. Boyle also had a substantial residence at Youghal, besides Myrtle Grove, known today as "The College", close to the Collegiate Church of St Mary Youghal. Order on the Boyle estates was maintained in 13 castles which were garrisoned by retainers. The town of Clonakilty was formally founded in 1613 by him when he received a charter from King James I of England. Boyle was then returned as a burgh commissioner (Member of Parliament) for Lismore in the Irish Parliament of 1614, (held at Dublin Castle) on 18 May 1614.

Asalache bought the "two-up two-down" Georgian terraced house in Wandsworth Road in 1981, paying less than the asking price of £31,000.National Trust look for £4m to preserve Khadambi Asalache's house, The Guardian, 20 January 2009 The property was in a poor state of repair when he bought it, having previously been occupied by squatters.Obituary, The Times, 24 June 2006 For 20 years,National Trust needs £4m to save intricately decorated terrace, The Daily Telegraph, 19 January 2009 he decorated it internally with Moorish-influenced fretwork which he cut by hand from discarded pine doors and wooden boxes. The intricate woodwork was augmented by illustrations of African wilderness, and his collection of 19th-century English lustreware.

Buying a modest "two-up two-down" Georgian terraced house in Wandsworth Road in 1981, Asalache paid less than the asking price of £31,000.National Trust look for £4m to preserve Khadambi Asalache's house, The Guardian, 20 January 2009 575 Wandsworth Road was in Lambeth on the number 77 bus route, allowing him to commute almost direct to his workplace. The property was in a poor state of repair when he bought it, having previously been occupied by squatters. For 20 years,National Trust needs £4m to save intricately decorated terrace, The Daily Telegraph, 19 January 2009 he decorated it internally with Moorish-influenced fretwork which he cut by hand from discarded pine doors and wooden boxes.

The dance floor at the Hammersmith Palais de Danse as it appeared around 1919. Built in 1910 on a site formerly occupied by a tram shed for London United Tramways, the Brook Green Roller Skating Rink, which had been closed since 1915, was acquired at the end of the First World War by North American entrepreneurs Howard Booker and Frank Mitchell, to convert it into a place to host ballroom dancing and various kinds of dance bands, among which were the new jazz bands. The first incarnation of the Hammersmith Palais was the work of architect Bertie Crewe. Its Chinese-style decoration featured lacquered columns, fretwork and a pagoda roof with silk lanterns.

In order that the house be readied and fully furnished as a gift to the Duchess's daughter-in-law, Henry Flitcroft was commissioned to design alterations, and Goodison was employed with fitments and furnishings. Another long-standing record of patronage was that of the first and second Viscounts Folkestone at Longford Castle, from 1736 to Goodison's successor"Griffiths, Cabinet Maker" had been Goodison's assistant, according to Edwards and Jourdain 1955, p. 45. in 1775. In 1739-40, the Gallery was furnished entirely by Goodison, who supplied the green damask for walls and furniture; the suite of mahogany stools and long stools, with two daybeds have gilded details and gilded fretwork applied over the upholstery.

In fact, the only scary thing here is that Alder's infectious fretwork will leave an indelible imprint in your musical memory. The highly accoladed Alder has attained more fret-cred than, perhaps any other fingerstylist over the past eight or nine years, yet there is no sense that he has any intention of resting on his laurels if this often energetic and engaging CD is any indication. Much like his last release, Not a Planet, Alder offers a variety of sonic flavors and styles with technique and execution that are precise and so very fluid. There is an improvisational feel to the performances on Armed & Dangerous that create an immediacy that is fast becoming an Alder trademark.

16% of houses are semi-detached, terrace houses or townhouses up to two storeys (as compared to 4% for the greater Ballarat and 9.2% for Australia). There are also slightly lower ratio of flats, units or apartments (8%) than greater Ballarat (10%) or Australia (14.2%) and there were no residential buildings greater than 3 storeys in the suburb. In terms of general character and style, the majority of the homes are larger middle- class homes dating to the Victorian era and Edwardian era with ornamental verandahs decorated in iron lacework or wooden fretwork. The suburb also includes many narrow iron laced cottages and a smaller collection of Interwar and modern infill homes.

While Sarane's Swing Quintette was modelled on that of his great contemporary Django Reinhardt, his sound was somewhat different; commentator Michael Dregni states: "I hear in Sarane's fretwork a more deliberate, perhaps cautious guitarist... [his songs] imbued with a remote, even mysterious atmosphere... melodies floating on entrancing airs of minor-key wistfulness." For most of his career he is pictured with, and recorded with a Selmer guitar as indeed, were most French guitarists of the day; towards the end of his life he also recorded in a more mainstream, electric style as evidenced on his tracks on the album Tribute To Django recorded in 1967 for French radio (album released later, in 1989).

Moody's Cottages - Allandoon, 2009 Allandoon is a small, single-storeyed brick house, rectangular in shape, with a gabled roof of corrugated iron which probably was shingled originally. The foundations are of Brisbane tuff and the earliest section of the building is constructed of brick on edge ('rats nest' bond), the same technique used in the adjacent semi-detached cottages. A narrow front verandah, which has a convex corrugated iron roof, timber posts, fretwork brackets, cast-aluminium balustrading and brick end walls of English bond construction, abuts the street pavement. Internally the house consists of four main rooms opening off a central hallway, with later kitchen, dining and bathroom facilities added at the rear.

Part of the field of the arms of the 544th Intelligence, Surveillance and Reconnaissance Group of the United States Air Force is lozengy in perspective. A field fusilly can be very difficult to distinguish from a field lozengy; the fusil is supposed to be proportionately narrower than the lozenge, and the bendwise and bendwise-sinister lines are therefore more steeply sloped. A field masculy is composed entirely of mascles; that is, lozenges pierced with a lozenge shape – this creates a solid fretwork surface and is to be distinguished from a field fretty. An extremely rare, possibly unique example of a field rustré - counterchanged rustres - occurs in Canadian heraldry in the arms of R.C. Purdy Chocolates Ltd.

Veliky Ustyug area was the birthplace of the explorers Semyon Dezhnyov, Yerofey Khabarov, Vladimir Atlasov, and of St. Stephen of Perm. Veliky Ustyug lost its key role as a river port with the diminishing importance of the Sukhona River route for trade between China and western Europe, which started with the foundation of Saint-Petersburg in 1703, whereby the trade was diverted to the Baltic Sea. The 16th and 17th centuries were the time of the highest rise of the culture in Veliky Ustyug, in which it acquired a national-wide significance. The town is known for its remarkable handicrafts, such as silver filigree, birch bark fretwork, decorative copper binding, and niello.

Ex Cathedra have collaborated with Fretwork (music group), the City Musick, His Majestys Sagbutts & Cornetts, Concerto Palatino, Birmingham Opera Company, Sinfonia New York, Birmingham Royal Ballet, the City of Birmingham Symphony Orchestra, Quebecois dance company Cas Public, the Shakespeare Institute, and the Shakespeare Birthplace Trust. The first period instrument orchestra to be established in an English regional city,. Ex Cathedra's Baroque Orchestra was founded as part of the choir's 1983–1984 season and made its début with a performance of Bach's Mass in B Minor. Comprising the UK's leading period instrumentalists, the orchestra's principals regularly give master classes and coach students at the Birmingham Conservatoire as part of its early music programme.

"Fox, Darrin, "White Heat", Guitar Player, June 2003, p. 66 Allmusic said of the album: > Jack White's voice is a singular, evocative combination of punk, metal, > blues, and backwoods while his guitar work is grand and banging with just > enough lyrical touches of slide and subtle solo work... Meg White balances > out the fretwork and the fretting with methodical, spare, and booming > cymbal, bass drum, and snare... All D.I.Y. punk-country-blues-metal singer- > songwriting duos should sound this good. At the end of 1999, The White Stripes released "Hand Springs" as a 7" split single with fellow Detroit band the Dirtbombs on the B-side. 2,000 copies came free with the pinball fanzine Multiball.

Floor plans With of floor space, the house boasts floor-to-ceiling windows and glass French doors in the living room and Wright's classic horizontal designs and features connecting interior and exterior space. The second story features two bedrooms, each with its own private balcony. Designed based on a seven-foot square grid, the house is visually anchored to a single mass of windowless concrete block forming the walls of the small basement and kitchen and extending beyond the roofline, obscuring various vents and the large skylight to the kitchen ("workspace") below. The house is constructed of cedar and painted cinder block and continues Wright's tradition of custom patterned wood cutout window lattice known as fretwork.

It has also commissioned music from Sir John Tavener, Michael Nyman, Alexander Goehr, George Benjamin, Duncan Druce, Fabrice Fitch, Gavin Bryars, Barry Guy, Poul Ruders, Simon Bainbridge, Ivan Moody, John Woolrich, Thea Musgrave, Peter Sculthorpe, Sally Beamish, Andrew Keeling and Orlando Gough. Fretwork has recorded a series of discs for Virgin Classics and Harmonia Mundi USA, but currently records for Signum Records. Recent discs include 'Bach's Goldberg Variations arranged for viols by Richard Boothby and The World Encompassed, with Simon Callow. In 2007 they recorded Birds on Fire: Jewish Music for Viols which presents some of the music composed by Italian- Jewish composers from the Bassano & Lupo families, who came to England to work at the court of Henry VIII in 1540.

An 18th-century engraving of the villa William Robinson of the Royal Office of Works contributed professional experience in overseeing construction. They looked at many examples of architecture in England and in other countries, adapting such works as the chapel at Westminster Abbey built by Henry VII for inspiration for the fan vaulting of the gallery, without any pretence at scholarship. Chimney-pieces were improvised from engravings of tombs at Westminster and Canterbury and Gothic stone fretwork blind details were reproduced by painted wallpapers, while in the Round Tower added in 1771, the chimney-piece was based on the tomb of Edward the Confessor "improved by Mr. Adam". He incorporated many of the exterior details of cathedrals into the interior of the house.

Antioch is one of the oldest towns in California. In 1848, John Marsh, owner of Rancho Los Meganos, one of the largest ranches in California, built a landing on the San Joaquin River in what is now Antioch. It became known as Marsh's Landing, and was the shipping point for the 17,000-acre rancho. It included a pier extending well out into the river, enabling vessels drawing 15 feet of water to tie up there at any season of the year. The landing also included a slaughterhouse, smokehouse for curing hams, rodeo grounds, and even a 1½-story dwelling, embellished with fretwork, that was brought around the Horn to serve as a home for the mayordomo (manager) and his wife.

He won a city corporation contract for enclosing city squares with iron railings. Not long after this, Arthur Robert Lungley (ca. 1848 – 11 May 1935), a government hydraulic engineer, joined with him to form G. E. Fulton & Co. They established "Fulton's Foundry" at Goodwood in 1879, initially to supply cast iron fencing for the Adelaide town square, then for other fancy architectural goods as well, such as fretwork, columns, ornamental capitals and so forth. Aided by a substantial subsidy, he won a state government contract for £180,000 worth of cast-iron water and drainage pipes in 1884, enabling him to set up a factory in Kilkenny, for which purpose he travelled to Great Britain, ordering heavy machinery and engaging fifteen specialist workers.

His partnership with Steve Kalinich also forged a new Ellis Hooks album Needle In A Haystack for Blues Blvd Records, which featured twelve new songs written by Hooks/Tiven/Kalinich, and a thirteenth which included the writing and guitar playing talents of the great Steve Cropper. This is the first recording Ellis had done in some time, and Kalinich not only cowrote but coproduced and did some recitation on the record as well. Tiven also produced a new version of the classic Don Nix song "Goin' Down" by Leslie West for his new album (Soundcheck), with guest Brian May trading fiery fretwork with Leslie. A record Tiven initially began producing in the late 1990s by Billie Ray Martin was finally completed and issued as The Soul Tapes.

Lantern clocks were made almost entirely of brass, whereas most earlier clocks had been constructed from iron and wood. Typical lantern clocks comprised a square case on ball or urn feet, a large circular dial (with a chapter ring extending beyond the width of the case on early examples), a single hour hand, and a large bell and finial. The clocks usually had ornate pierced fretwork on top of the frame. The main style characteristics of English lantern clocks are similar to its Continental relatives: a wall clock with square bottom and top plates surmounted by a large bell, four corner pillars, a series of vertical plates positioned behind each other and a 30-hour movement with one or more weights.

The current organ in the abbey church was built by John Compton in 1931 to replace the Garrard organ: it has 142 speaking stops over four manuals and pedals. This extraordinarily large number of stops is derived from a mere 38 ranks of pipes by means of extension and transmission. The whole instrument is enclosed within three stone and concrete chambers with swell shutters facing upwards, except the Tuba box which speaks down into the transept. Unusually, the casework (designed by Giles Gilbert Scott and carved by Ferdinand Stuflesser of Ortesei in the Italian Tyrol) has no pipefronts: it is of solid oak with fretwork, but has no roof: consequently, the whole organ speaks up into the transept vaults and is projected down the nave.

"Are You the One" is the third single from Malina Moye's Rock & Roll Baby album. The remix of the single was released March 4, 2016 and was the second- most added song at the Urban Adult Contemporary radio format upon its release. The single was remixed by Bjorn Soderberg also produced Moye’s previous singles "Alone" and "Girlfriend." Singersroom stated that “Moye is considered one of the top female guitarists in the world, and has carved out her own lane in today’s music scene as one of the few artists able to straddle both Rock and Soul genres.” “As for a ballad like ‘Are You the One,’ Moye offers up a mid-tempo beat before she kicks down the door with blazing fretwork,’ stated Fender.

The extensions at Canning Downs comprised the addition of timber wings abutting either side of the principal residence. Both of which were rectangular planned with hipped corrugated iron roofs and discrete verandah awnings on the front and side elevations. The wings were timber framed and clad with chamfered horizontal boarding, with decorative timber features including cross-braced balustrading and fretwork column brackets. Canning Downs station homestead and gardens, Warwick district, 1914 The Canning Downs estate was then subdivided, and that portions containing the residence and stables was sold to Henry Richard Needham on 2 March 1906 who owned it only until 9 January 1918 the ownership of the Canning Downs Homestead was transferred to John Hawkins Smith and Sara Barnes, parents of the present owner Charles Edward Barnes.

Openings are symmetrically positioned around the building with: double-hung sash windows on the front elevation either side of a pair of panelled entrance doors; 6 windows to each side elevation - 4 pairs of casement windows between double-hung sash windows at each end; and 2 pairs of panelled doors at the rear. The rainwater disposal system comprises slotted quad gutter and PVC downpipes. The hall interior is lined with beaded tongue- and-groove boards and houses a raised timber stage at the rear, flanked by 2 small rooms, and a room in the north-east corner near the entrance formed by partial height partitions. At the entrance, a portion of the ceiling is flat with the remaining coved ceiling featuring timber fretwork roses and steel tie-rods.

The Rocks Guesthouse is important in demonstrating the principal characteristics of a late 19th- century middle-class North Queensland timber residence converted into a private hospital in the early 20th century: The core includes spacious, high- ceilinged rooms; a large bay window to the principal public room; and decorative elements such as fretwork ceiling vents. Its grounds retain an early brick and stone retaining wall and front garden stairs. At the rear of the original house the former operating room remains substantially intact and is important in demonstrating the principal characteristics of its type, including the need for adequate light and ventilation, demonstrated in the low fixed louvre vents, upper level movable louvres, overhead skylights and both internal and external entry. The place is important because of its aesthetic significance.

At the entrance of the enclosure stands a wide tetrastyle portico with a semicircular central span which holds, in a smaller span, two heavy sheets of wood studded with bronze. This work, begun in 1571 by Jerezan architect Andrés de Ribera, conforms to the purest canons of Andalusian classicism. Conceived as a great triumphal arch, it is composed in a sober manner and decorated with coats of arms, canopies, fretwork windows, and glazed ceramic hemispheres, constituting a superb example of Renaissance architecture. At the beginning of the 17th century, with the original plan almost complete, new works were undertaken, such as the façade of the church, which was totally renovated in 1667 in a clearly Baroque style, following the plans of Brother Pedro del Piñar, who also placed atop the crests of the church and refectory niche sculptures by Francisco de Gálvez.

Together, Moore and Foster created Brisbane's most beautiful and popular parks and gardens of the early twentieth century. HRH Edward, Prince of Wales at the bandstand, 3 August 1920 Foster's design was for a timber- framed bandstand resting on brick piers set on a concrete base. The structure had a pyramid roof clad with fibrous-cement tiles (a very new product in Australia at that time) and was simply but effectively decorative with gablets to each side of the roof (these had shaped timber in-fills); a finial at the roof peak and at the end of each gablet; timber balustrades and valances with fretwork panels around the pavilion sides; and honeycomb brick infill between the piers. The contract was let in September 1919 to Mr TJ Dale of Gympie, who tendered with a price of .

On his death he was to leave property at nearby Ragnall, Dunham and a house and land at Great Drayton. It is not known where he received his schooling, but it was probably in more than basic literacy. George Vertue, whose family had property in Hawksmoor's part of Nottinghamshire, wrote in 1731 that he was taken as a youth to act as clerk by "Justice Mellust in Yorkshire, where Mr Gouge senior did some fretwork ceilings afterwards Mr. Haukesmore came to London, became clerk to Sr. Christopher Wren & thence became an Architect". Wren, hearing of his "early skill and genius" for architecture, took him on as his clerk at about the age of 18. A surviving early sketch-book contains sketches and notes, some dated 1680 and 1683, of buildings in Nottingham, Coventry, Warwick, Bath, Bristol, Oxford and Northampton.

The Avison Ensemble performs on period instruments in order to recreate as closely as possible the distinctive sound-world of the late 18th century. Consisting of some of Europe's leading baroque musicians and soloists the Ensemble is led by Pavlo Beznosiuk, one of the UK's leading period instrument virtuoso violinist and leader of the Academy of Ancient Music. Members of the Ensemble appear regularly in principal positions with the Academy of Ancient Music, Fretwork (music group), The Gabrielli Consort, Monteverdi Choir, Orchestre Révolutionnaire et Romantique, and the English Baroque Soloists, the Amsterdam Baroque Orchestra, English Concert, The King's Consort, and Les Arts Florissants. The Ensemble has also performed under the conductors Benjamin Zander and Nicholas Kraemer, and with soloists such as the cellists Anner Bylsma, Jaap ter Linden, and Pieter Wispelwey, pianists Ronald Brautigam and Alexei Lubimov, and singers James Bowman, Robin Blaze and Catherine Bott.

The wrought iron balustrade of the stairs contains ironwork ears of wheat, which rustle like the real thing as one ascends the flights.. The marvel of the first floor is the Chinese room: one of the most extraordinary rooms in the house if not England. Here the rococo continues, but this time in a form known as chinoiserie — essentially a Chinese version of the rococo decorative style. The entire room is a fantasy of carved pagodas, Chinese fretwork, bells and temples while oriental scrolls and swirls swoop around the walls and doors reaching a crescendo in the temple-like canopy, which would have once contained a bed, but now gives a throne-like importance to a divan.. Also on this floor is a small museum dedicated to the nursing pioneer Florence Nightingale, the sister of Parthenope, Lady Verney. In her later years Nightingale regularly stayed at the house..

Because of its sheer size, the frame makes up a large proportion of the total weight of the tool and has a relatively large moment, which in the hands of an inexperienced user can create a tendency for the direction of cut to drift away from that desired. To counter this the fretsaw is usually used with the handle (and blade) aligned on a vertical axis which reduces the effects of this torque. The effect may also be lessened with a shorter (and lighter) frame, although this also reduces the size of components that may be worked. A cutting or fretwork table, also known as a V-board, made of either wood or metal and which clamps to the edge of the workbench, may be used to support the work piece whilst allowing clearance for the saw blade by means of a V-shaped slot cut into it.

Photographs of the exterior of the building show that the prefabrication is evident in the sidewalls. The veranda appears to have its own structure, with cross bracing to the supporting posts and into the front walls of the house, an unusual detail for Australia. The outer layer of fretwork to the veranda conceals the ends of the rafters, a practical detail that protects them from water entry. The cosy dining room with its corner fireplace was (in the Heysen period) overlaid with a patina of form and patterns - New Guinea carvings, including the beautiful bowl painted in "The Flower Ship" (1945); fruit, quinces, pomegranates, persimmons, pears enjoyed as much for shape, colour and texture as taste; "Art in Australia" magazines; paintings by fellow artists and, in the centre of the round cedar table, always a low bowl of mixed flowers - whatever took Nora's fancy each morning.

The musical composition of "It Never Ends" is characterised by the use of choral vocals (performed by The Fredman Choristers) and electronic instruments: Metal Hammer writer Luke Morton claims that the track marks Bring Me the Horizon's "first foray into experimenting with high-end electronics and production". He also notes that the song's "punked-up, infectious, snarling chorus is juxtaposed early on by the ethereal choral vocals that float through the whole album". This contrast is described as a blend of "delicacy with brutality" by AbsolutePunk's Drew Beringer, who notes that the song "starts lightly" and features "chilling" choral vocals and orchestration which contribute to the "huge track". Previewing There Is a Hell... for Metal Hammer, Terry Bezer outlined the arrangement of the song by explaining that "Thunderous fretwork over the top of luscious keyboard strings again give way to a full-throttle burst of pace".

Since the late 1980s he has written music for the likes of Opus 20 (Meditatio 1989), Het Trio (Distant Skies, Mountains and Shadows 1992), The Hilliard Ensemble (O Ignis Spiritus 1993), The Apollo Saxophone Quartet (Wrestling with Angels 1993), the BBC Philharmonic Orchestra (Upon the Edge of Autumn 1994), Evelyn Glennie (Concerto Nekyia 1995), The Goldberg Ensemble (Hidden Streams 1995), Fretwork (Afterwords 1999), Virelai (With How Sad Steps, O Moon 2000), Jacob Heringman (Black Sun 2001), Gothic Voices (Powered by Joy 2002), Matthew Wadsworth (MirAre 2002), Catherine King and Jacob Heringman (Eye of Heart... 2002), Alison Wells and Ian Mitchell (Pirate Things 2006) and many others. Some of Keeling's music has appeared on CD releases distributed by the Discipline Global Mobile, Burning Shed, and Riverrun record labels, as well as being performed and broadcast worldwide. It is published by Faber, PRB, Staunch and Alto Publications. Since the late 1960s, Keeling has been a keen advocate of the music of Robert Fripp and King Crimson.

" Recent reviews of the remastered edition underline the duality of Anderson and Abrahams' songwriting and stage presence, as well as the strong ties of the band to blues in their early days. Sid Smith of BBC Music wrote that "what made Tull stand out from the great-coated crowd (of touring bands) was the high-visibility of frontman Ian Anderson's on-stage Tourette's-inspired hyper-gurning and Mick Abraham's ferocious fretwork." An AllMusic reviewer remarked how Jethro Tull on their vinyl debut appeared "vaguely reminiscent of the Graham Bond Organization only more cohesive, and with greater commercial sense". David Davies of Record Collector reminds how "This Was only hints at the depth and majesty of the ensuing seven albums", but also wrote that "the direct, unfussy and predominantly blues-based" tracks of the original recordings and the extra tracks of the collector's edition "could well come as something of a surprise" and "be of the greatest interest to Tull aficionados.

No architect appears to have been engaged. The new sea baths were no flimsy timber structure, but spacious and solid. The women’s section had Islamic fretwork screens and Moorish domed towers which echo the pairs of domical towers at the Palais, at Luna Park and elsewhere in St Kilda. The men’s section had arcades facing the shore, with wavy Spanish Mission parapets and decoration. Anticipating popularity, 756 lockers were provided for men and 572 for women. Other sea baths in Victoria like the surviving Brighton Baths (1936), the Williamstown Pavilion (1936) and the Geelong Eastern Beach Baths (1937) did not include such a large range of facilities in their shore structures. The new Sea Baths opened in 1931. By then, the concept of enclosed sea baths was already outmoded and the baths were never as successful as envisaged. The building deteriorated due to lack of maintenance, and by 1950 the timber wings of the men's baths which stretched east to sea were considered unsafe and closed.

Ground plan of 1902 The building, sometimes called the Palazzo Bauer, was designed by in an eclectic neo-Gothic style,Giulio Lorenzetti, John Guthrie, translator, Venice and Its Lagoon, Trieste:1975, p. 627John Freely, Strolling Through Venice, 1994, , p. 57 "perhaps the most significant representative of late- nineteenth century Venetian medieval mannerism"."Hotel Bauer Gruenwald", Condotte nei Restauri, 1992, , p. 89ff Demolition of the existing buildings began in 1900 and construction was completed in 1902."Il nuovo palazzo dell'albergo 'Italia'", L'Edilizia Moderna, 1902, p. 23f On the southwest corner is the Canal Bar, a large ground-level terrace surrounded by a stone fretwork fence; at the corner there stands and a 3.6m tall statue of a woman representing Italy, a work of Carlo Lorenzetti. Before the hotel's construction, this was a public square called dei Felzi. Site of Bauer in 1828, before 1844 and 1900 demolitions The site had previously held a 15th- century building in the "Arabo-Byzantine" style, demolished in 1844.

In the 18th century, Philadelphia was one of the most important cities both before and after the American Revolution and was a center of style and culture. At age 30, he returned to Connecticut, building a home and workshop in East Windsor where he spent the rest of his life, operating his furniture making shop from 1771 through 1798. In contrast to the general style of his contemporary Connecticut furniture makers, which was tall and slim, with long slim legs, Chapin had a style which was more compact, blocky, and chunky, but lighter and cleaner in detail than the Philadelphia rococo design from which he also drew inspiration, resulting in a style known as Connecticut Chippendale. The detail work on his furniture was also consistent and distinctive, with similar very highly detailed carvings on the ball and claw feet of his furniture, similar distinctive spiral rosettes, open fretwork, scrolled pediments, and other decorations.

The front (west) side of the building includes a concrete porch (which replaced the original wood porch) that measures 12 feet wide by 5 feet long with four steps and right and left side round metal hand railings. Two four-paneled solid wood entrance doors with semi-circular tops, hinged to swing outward, lead the way into the church building. The porch includes two wood sitting benches and has a wood framed canopy roof with asphalt shingles that match the building's main roof. Wood pillars support the canopy roof and the fascia includes vertical jig-sawn wood trim fretwork supported by wood braces attached at a 45-degree angle. A sign on the left side of the entrance doors reads, “St. Mary’s Church – Built by a Group of Polish Immigrants in 1914.” There is one centrally located lancet window above the canopy. The bottom section has two vertical panes that are painted white, and the top section has three lancet shaped panes with clear wavy glass.

A number of contemporary composers have written for viol, and a number of soloists and ensembles have commissioned new music for viol. Fretwork has been most active in this regard, commissioning George Benjamin, Michael Nyman, Elvis Costello, Sir John Tavener, Orlando Gough, John Woolrich, Tan Dun, Alexander Goehr, Fabrice Fitch, Andrew Keeling, Thea Musgrave, Sally Beamish, Peter Sculthorpe, Gavin Bryars, Barrington Pheloung, Simon Bainbridge, Duncan Druce, Poul Ruders, Ivan Moody, and Barry Guy; many of these compositions may be heard on their 1997 CD Sit Fast. The Yukimi Kambe Viol Consort has commissioned and recorded many works by David Loeb, and the New York Consort of Viols has commissioned Bülent Arel, David Loeb, Daniel Pinkham, Tison Street, Frank Russo, Seymour Barab, William Presser, and Will Ayton, many of these compositions appearing on their 1993 CD Illicita Cosa. The Viola da Gamba Society of America has also been a potent force fostering new compositions for the viol.

Robson designed the Paragon Theatre as a tropical theatre. This may refer to the use of timber lattice and fretwork throughout the interior, on the ceiling and the proscenium, concealing high level windows providing ventilation not used in standard cinema design. The tropical theatre style was popular for Queensland theatres of the 1920s and 1930s, including the Alhambra Theatre at Stones Corner and the Paddington Theatre on Given Terrace, Paddington, Brisbane. The writer of an article on the Paragon Theatre in the Bundaberg Times Isis District Souvenir of 1927, commented: > In all centres it has been recognised that the old style theatres are not > suitable, hence modern ideas have been brought to bear in the planning of > structures suitable for the climatic conditions, and a new type of theatre > evolved, one of which will rise on the site of the present Gee's Hall. (p19) The theatre was intended to accommodate 1200 people, in a hall measuring , but this may have been optimistic - the Film Weekly Directory of 1938-39 lists the Paragon Theatre at Childers with a seating capacity of 600.

Blaze has performed with conductors including Harry Christophers, Stephen Cleobury, John Eliot Gardiner, Philippe Herreweghe, Richard Hickox, David Hill, Christopher Hogwood, René Jacobs, Robert King, Ton Koopman, Nicholas Kraemer, Gustav Leonhardt, Paul McCreesh, Nicholas McGegan, Trevor Pinnock, and Masaaki Suzuki. He has appeared with ensembles including the Academy of Ancient Music, Akademie für Alte Musik Berlin, Amsterdam Baroque Orchestra & Choir, Bach Collegium Japan, Berlin Philharmonic Orchestra, BBC Philharmonic, La Chapelle Royale, City of London Sinfonia, Collegium Musicum 90, Collegium Vocale, The English Concert, Fretwork, Gabrieli Consort, Hallé Orchestra, Hanover Band, Israel Chamber Orchestra, King's Consort, Manchester Camerata, National Symphony Orchestra, Netherlands Radio Philharmonic, Northern Sinfonia, Orchestra of the Age of Enlightenment, Florilegium, Palladian Ensemble, The Parley of Instruments, Philadelphia Orchestra, Royal Flanders Philharmonic, Royal Liverpool Philharmonic Orchestra, RIAS Kammerchor, Saint Paul Chamber Orchestra, Scottish Chamber Orchestra, The Sixteen, Tafelmusik Baroque Orchestra and Chamber Choir, and Winchester Cathedral Choir. In November 2017 he performed at Tilford Bach Festival under Adrian Butterfield. Blaze works regularly with pianist Graham Johnson and lutenist Elizabeth Kenny.

Yoakam’s 1998 release A Long Way Home was a return to a more country sound, and Tomorrow’s Sounds Today takes this approach even further; in fact, it is arguably his straightest country studio album since 1988’s Buenos Noches from Lonely Room. Like A Long Way Home, this LP has a brighter musical atmosphere than the “noirish streak” that ran through previous works like This Time and Gone. On the first single “What Do You Know About Love” the narrator is cautiously optimistic over a new love, admitting “My heart’s so often been wrong,” while on the opener “Love Caught Up with Me,” the narrator surrenders completely with the lines “Baby, I couldn’t hide, no matter how hard I tried…” Pete Anderson’s guitar work on “Free to Go” evokes the Allman Brothers over a Johnny Cash rhythm as the song ponders the elusive nature of love. Anderson also displays some fine fretwork on the rocking “A Place to Cry,” but for the most part Yoakam and Anderson keep it country, emphasizing Gary Morse’s pedal steel and returning to their roots, as if they sensed their partnership was nearing its end.

Their debut recording, Music for Compline, achieved great commercial success after it was featured on NPR's All Things Considered, reaching #2 in the Billboard Classical chart; NPR's Tom Manoff described the group as "one of the finest choral ensembles of our day".Tom Manoff, All Things Considered, NPR, 2007-6-22 The disc also received industry awards including the 2007 Diapason d'or de l'année and was nominated for the 50th Grammy Awards. Their release Song of Songs, was the winner of the 2009 Gramophone Award for Early music, and spent three weeks at #1 on the Billboard Classical chart. It was also nominated for the 52nd Grammy Awards. The group has collaborated extensively with Fretwork, the Folger Consort, Marino Formenti, B’Rock, Rihab Azar, and Sting, with whom they toured Europe, Australia, and the Far East with his Songs from the Labyrinth project (based on the work of John Dowland) and appeared as guests on his 2009 album If on a Winter's Night.... In 2013, they were involved in the celebrations for the centenary of the Carnegie UK Trust, commemorating the Trust's support for OUP's multi-volume publication of Tudor church music in the 1920s.

The architects called tenders in October–November 1931, with the contract let to Roma contractor GP Williams. The building was erected at a cost of , and was officially opened on 28 June 1932. The double-storeyed facade of the new Hibernian Hall, with its stepped parapet and curved pediment, oriel window to the projection room above an ungated opening to the foyer and ticket-box, read more as a picture theatre than a community hall. The building demonstrated many of the principal elements of "tropical" picture theatre design of this era, including: panels of open timber lattice high along each side wall, just under the roofline and sheltered by the eaves, for cross-ventilation purposes; a row of large bi-fold doors along each side of the hall which could be opened in hot weather, those on the southern side opening to a covered promenade along the side of the building; pressed metal and fretwork panels in the auditorium ceiling, accommodating ventilation and acoustic requirements with decorative effect; a decorative pressed metal proscenium arch; a stage area which could accommodate live performance as well as film screenings; and the projection booth (or bio- box) located above the foyer and ticket box.