29 Sentences With "gives onto" | Random Sentence Generator

Far from being lost in the countryside, the property gives onto the main market square on the edge of town.

The screen's most notable panel depicts the Nine-Dragon Falls, whose V-shaped valley gives onto a ripping white waterfall.

A beach shack in Cape Cod, done in 2006, gives onto grass rendered in oils so wet that they look almost fingerpainted.

There's a terrace with cute fairy lights that gives onto a quiet-ish square or park (it was dark when I went).

It gives onto the hideous mock-classicist marble busts of Adolfo Wildt, who stole the show at the 1922 Venice Biennale and who would go on to sculpt Mussolini with the intensity of a Roman emperor.

Inside, the vestibule is finished in the original wood. It gives onto the lobby, with a terrazzo floor. The walls have vertical-planked wooden wainscoting topped by modillions. They rise to a coved ceiling with stepped panels.

Both the benches and the tree are no longer extant. At the southeast end, the overlook broadens into a terrace. Symmetrical sections of wall flank a recessed area paved with flagstones which gives onto a staircase leading down to the lakeshore.

All windows have solid wooden shutters. Semicircular windows at the attic level on either side elevation have been boarded in. Federal-style crown moldings, pilasters and fielded side panels surround the main entrance. It opens to a small main hall that gives onto a living room with exposed ceiling beams.

North face of the Irme and Marie Horner House, Beverly Shores, Indiana.The garage is with a south facing roll-up door. There is sufficient space for a full size hot water heater and a gas furnace. The building is equipped with a personnel door which gives onto the covered walk area between the three structures of the residence.

The palace is located in the district of Ciutat Vella in Barcelona. It is bounded by the Carrer del Bisbe, Carrer de Sant Sever and Carrer de Sant Honorat. Its principal façade gives onto the Plaça de Sant Jaume, across from the City Hall of Barcelona. The original building was purchased in 1400 by then-president Alfons de Tous.

Maybe it was a little gift awarded the owner for extraordinary service rendered to the city. This type of house generally belonged to nobles and plutocrats. The main entrance gives onto a hall which leads through a second entrance to a central courtyard, or atrium. An impluvium or pool designed to catch rainwater lies in the middle of the courtyard.

It has a lanterned dome imitating that in Rome. The chapel's frontage gives onto the enclos' grass patch (placître) and the building itself has used granite from the Logonna quarries for the southern section, a tougher granite from another area for the middle section and grey granite from Armorica for the surrounds to the doors and windows for the section built from 1570 to 1591.

It is built of Flemish bond brick and appears yellow on the forward aspects but red to the rear and service buildings. The roof is of slate, with limestone ashlar chimney stacks. The building has two stories with basement and cellars, and is constructed on a square plan, being two rooms wide and two rooms deep. The entrance on the east side gives onto a hallway containing the main staircase.

Here worked, among others, Jeremi Przybora. In 1995, the villa was fully renovated: the project supported by Radio PIK received a prize in the competition organized by Polish heritage secretary for the best historic building rehabilitation. The renovation project comprised also the adjacent building "Villa Flora". Today, a restaurant, Meluzyna, has been opened in the ground floor and basement of the premises, using a side entry that gives onto Słowackiego Street.

In the apex of the front gable is a round-arched window with a Star of David. This is complemented by a similar metal finial atop the roof of the single-story front vestibule, added later on a concrete base scored to look like the stone on the main building. It is above the front entrance, a broken-parapeted roofline supported by four piers. Double wooden doors open into the vestibule, which gives onto the sanctuary.

This passage was probably closed at one time and the offset was a measure intended to confuse potential robbers. The second chamber is similar to the first and lies directly beneath the apex of the pyramid. High in the southern wall of the chamber is an entrance, now reached by a large wooden staircase built for the convenience of tourists. This gives onto a short horizontal passage that leads to the third and final chamber with a corbelled roof high.

It was built between 1640 and 1644, originally for the financier Jean-Baptiste Lambert (d. 1644) and continued by his younger brother Nicolas Lambert, later president of the Chambre des Comptes. For Nicolas Lambert, the interiors were decorated by Charles Le Brun, François Perrier, and Eustache Le Sueur, producing one of the finest, most-innovative, and iconographically coherent examples of mid-17th- century domestic architecture and decorative painting in France. The entrance gives onto the central square courtyard, around which the hôtel was built.

The schloss stands on a rectangular island surrounded by a broad moat-like canal. The island’s four corners are accentuated by four small free-standing pavilions. The garden front gives onto a landscaped park of some 170 hectares, reached through a formal parterre of scrolling broderie on axis, flanked by expanses of lawn. The gardens and the surrounded woods are peopled with a multitude of lifesize marble statues, of which the first deliveries were made in 1721 by the Munich sculptor Johann Wilhelm Gröninger.

The large auditorium has a capacity of 803 seating places and 6 seats for disabled, the scene covers an area of 420 m2 (22 m wide and 25 m deep), and houses theatre equipment and lighting, and a revolving stage (11,80 m diameter). The scene portal is 9,5 m high and 18 m wide. The front curtain is steel and textile made, comprising 6 layers (10 m high and 21 m wide). The hall has an appreciated acoustic; it gives onto the lobby and two mezzanines.

Side view, 2015 The chapel is made of locally quarried sandstone and originally had a shingled roof, now slate. It conforms to a standard English type of small church with a simple rectangular nave with a square chancel attached via an arch. A little square sacristy is attached to the north side of the chancel and a square porch gives onto the south-west end of the nave. Externally the elevations are extremely simple with an unadorned ashlar lower section with small lancets let into the wall above a roll moulding to form a clerestory.

Platform 2 serves trains for Chester and Ellesmere Port and its opposite face is Platform 1, a south- facing bay platform with electrified track used primarily for stabling. These platforms are all accessed by the overbridge/lifts. The booking office gives onto the fourth platform which is un-numbered; it was originally Platform 2 and is used primarily for loco-hauled rail-tour trains starting from and terminating at Hooton. The line serving it is not electrified, reverts to double track north of the road bridge, and continues northbound for some three-quarters of a mile.

He developed his international clientele and became the warranted supplier to the Russian Imperial Court. Taking part in each of the Universal Expos he accumulated honours in Paris in 1865 (First Class Medal), in 1867 (Silver Medal), in 1878 (Gold Medal), in 1889 (Grand Prix), and in Vienna in 1873 (Medal of Progress) He was ordained Chevalier de la Légion d'Honneur in 1878 and then Officer of the Légion d’Honneur in 1894. The store opened at number 8, rue de Richelieu (at the corner with the rue de Montpensier which gives onto the Place du Théâtre Français), at the foot of the Royal Palace Hotel which opened its doors in 1909.

In an earlier painting by Poussin from 1630 (now housed at the Dublin National Gallery) the couple are among several embracing figures in the foreground, shielded from view of Polyphemus, who is playing his flute higher up the slope. Another variation on the theme was painted by Pietro Dandini during this period. Polyphemus spies on the sleeping Galatea, Gustave Moreau (1880) An earlier fresco by Giulio Romano from 1528 seats Polyphemus against a rocky foreground with a lyre in his raised right hand. The lovers can just be viewed through a gap in the rock that gives onto the sea at the lower right.

When Fairer-than-a-Fairy is twelve, her beauty becomes famous in all the surrounding countries. The Fairies become jealous of her beauty and her name and decide to avenge themselves and destroy the Princess’ beauty. The Queen of the Fairies, named Nabote, goes to the castle in order to kidnap Fairer-than-a-Fairy but she finds it impossible, because the wizard who built it put a spell so that its inhabitants could neither go out unwillingly, nor be bewitched. Nabote goes into the castle as a servant and makes friends with Fairer-than-a-Fairy. One day, she opens a door that gives onto the countryside and pretends to faint outside the castle’s walls.

The clubhouse entry on Pine Street gives onto a marble accented lobby with a mosaic tiled floor and fireplace. A cast iron staircase, unique among New York clubs, rises four floors from the rear of the lobby. A large bar and lounging room, paneled in white oak, is reached a few steps down past the staircase. The principal rooms above the first floor are the previously mentioned Reading Room, the Pine Street Room and larger Wainwright Room, now the Club's ballroom, on the second floor, the A la Carte Dining Room and the Buffet Room and Babcock Room, named for Samuel D. Babcock, the Club's third president, on the third floor and six private dining rooms and the Game Room on the fourth floor.

The Chamber of Secrets as seen in the second film The Chamber of Secrets, which is deep under the school (most likely under the lake),Chamber of Secrets, Chapter 16 was home to an ancient Basilisk, intended to be used to purge the school of Muggle-born students. Salazar Slytherin, one of the founders of Hogwarts, built the Chamber before he left the school. The entrance to the Chamber is hidden in Moaning Myrtle's bathroom on the second floor. One of the sink taps has a snake scratched into its side; when a command in Parseltongue is spoken, it opens to reveal the mouth of a dark, slimy chute, wide enough to slide down, that gives onto a stone tunnel.

Palacio del Marques de Dos Aguas, Entrance In this reform that changes all its previous Gothic structure, it stands out above all its main entrance gives onto the street of the Marqués de Dos Aguas. It is made of alabaster by the Valencian, Ignacio Vergara Gimeno, founder and professor of the Royal Academy of Fine Arts of San Carlos, on the design of Hipólito Rovira, protected of the Marquis. (Ypolitus Rovira Ynventor et Ygnatius Vergara fabricator). In the composition of this magnificent entrance made in 1745 reference to the two largest rivers of the Valencian community is: the Turia and Júcar, represented by two naked human figures (Atlanteans); under these two buckets pour water in clear reference to the title of the Marquises.

Eastern wall of the tower Sesga castle, which owes its name to the nearby hamlet, is also known as the "castillo de los moros" (Moors' castle). It is located in the municipality of Ademuz in the province of Valencia, Spain. The castle is located southwest of the hamlet of Sesga, in a small, flat-topped mountain covered with pines and shrubs, besides a cliff which gives onto Sesga's ravine which holds the road from Sesga to Casas Bajas. Sesga castle is a small fortification which comprises the remains of what seems to be the base of a square tower, located in the eastern part of the fortress and surrounded by various levels of walls and a small, artificially-created platform.

A carriage loop lies west of the house's main entrance facade, which is crowned by an Italianate tower. Next to (to the left of) the house's entrance front the verandah gives onto a broad path and lawns reaching down to the north to clumps of giant bamboo from which a broad grassed walk, bordered on its higher side with elaborate concrete grotto-work, leads from the site of the jetty round the shore line to a shelter house also of concrete grotto-work beside the site of the swimming pool (now filled and grassed over). Steps amid further grotto-work lead to an upper (croquet or tennis?) lawn overlooked by an Italianate balustraded terrace (east of the house), with formal flower beds and fountain, before the third (east) front of the house (and the site of the Indian room, demolished 1972), and conservatory). A bay window on the house's eastern facade looks into this Italianate garden, with Indian pines, urns and terracing.