Doorways replete with ornately carved frosting jambs open into niches and cul-de-sacs of mirrored halls and oppressively, delightfully pink buttercream cornices.
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The door jambs shake, the walls quake, but after a while the two men weary of the quarrel and decide to be friends.
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Behind a hotel window, the shoves came with a whoosh of bass and ominous squeaking from the places where the glass bowed, aching against the jambs.
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I could have sworn I saw, across Amsterdam Avenue, a person standing on a window ledge, braced against the jambs, outline visible against the light within, ready to jump.
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At Western Building Products' banana-shaped factory on the lip of the Menomonee River outside of Milwaukee, workers unloaded pallets of door jambs from a large white container truck this week.
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Time was when the census was a civic coming-together, with the states like 8-year-olds pressed against door jambs, awaiting the pencil marks that would show how they had grown.
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Then there was the painful moment when his spokesperson, Sarah Huckabee Sanders, said, "I believe he was making a joke," after Trump suggested that police officers slam prisoners' heads into the door jambs of their cars.
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In a large new space overlooking West 53rd Street, Mr. Comer conferred with the artist Sheela Gowda, who'd come from Bangalore to set up a room-size installation, which joins thousands of carved wood figurines with the door jambs of torn-down houses.
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Caption of the jambs, from the National Archaeological Museum of Florence.
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The entrance contains remains of texts on the lintel and the jambs.
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102 Two limestone jambs from Djehutihotep's tomb entrance are now on display in the National Archeological Museum of Florence (inv. nos. 7596 and 7597), having been purchased by Ernesto Schiaparelli in 1891–92. The jambs list his several civil and religious titles, which include Treasurer of the King, Unique friend (of the King), Overseer of the priests, and Great overlord of the Hare nomos (i.e. nomarch). Djehutihotep was represented at the bottom of the jambs.
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The pyramid stands high and measures at the base. It still has traces of a wooden lintel supported on thick door jambs. One of the jambs is marked with prehispanic graffiti. The pyramid once contained a royal tomb but it has been completely looted.
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The jambs are square-cut, each having five upright and flat slabs of similar heights, two per course. At the top of each upright, there is a plain chamfered impost. The arch is to the imposts; it is wide and to the crown. The jambs are thick.
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Coventry, p. 6 These were typically fixed in place, often set into the jambs, sills and lintels.
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Isometric, plan and elevation images of KV9 taken from a 3d model The entrance is decorated with a disk containing a scarab and an image of the ram-headed Ra between Isis and Nephthys who are kneeling. The jambs and thicknesses, mentions the name of Ramesses VI. The jambs are usurped from Ramesses V.
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The jambs are of large flat stones, at right angles to the wall. The form of the jambs is Roman in origin. An example of this can be seen in the Bath House of Chesters Fort on Hadrian's Wall. Windows at low level on the south are mullioned with baluster shafts and arched lintels, and the window apertures themselves are cross-shaped.
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During this cleaning, clearing and repairs, states Banerjee, many more "sculptures and their fragments, pillar fragments, lintels, jambs with a number of images" were found.
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The outer and inner doors of the porch have chamfered jambs and pointed arches. The east window has five lights and a Tudor arched head.
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Jamb statues at Chartres Cathedral A jamb statue is a figure carved on the jambs of a doorway or window. These statues are often human figures, either religious figures or secular or ecclesiastical leaders. Jambs are usually a part of a portal, accompanied by lintel and trumeau. Two commonly known examples of jamb statues are the ones in Chartres Cathedral and those in Reims Cathedral; both locations are in France.
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A large number of items from both the neolithic and early Christian periods were discovered. Two polished stone axe heads were found, one buried between the jambs dividing the chamber; the other, a fine diorite example was found at the inner entrance of the court, again between two jambs. Other finds from the main chamber included a large flint knife, about 13 cm long, arrowheads, pot sherds, some quartz crystals, and flint scrapers.
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The gateway is monumental, with smooth jambs, a caliphal horseshoe arch with carefully cut voussoirs converging at the line of the imposts, an off-centre extrados and double-framed alfiz panel.
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Tower showing the west door, and window within the blind arch Above the west tower door is a large blocked pointed arch, chamfered above the spring, and vertically edged with round moulded jambs ending in open cusped devices. Around the arch is a hood mould. Within the arch is a 14th-century (Pevsner) or late 15th-century (National Heritage) window surrounded by a hood mould. The window opening jambs are single- chamfered, with the arch double-chamfered, and lead to a Perpendicular window.
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The frieze is narrow and comprises alternating projecting fluted and fielded recessed panels surmounted by a flat door hood over shallow fluted modillions. The jambs and soffit of the entrance are panelled, the configuration of the panels to the jambs matching exactly that of the door itself indicating that they are contemporary. The door is eight-panel type, two short panels at the top over two taller panels, repeated below the lock rail. The door knocker on the central muntin is a ring knocker and has a fleur-de-lis motif.
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St. Dairbhile's Church is a gabled single-cell church, now in ruins. The church has a narrow ashlar-lined, deeply-splayed east window with an arcuated lintel, and a narrow west doorway with inclined jambs and arcuated lintel.
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54m E-W x 52m N-S). E gable contains a square-framed, double-cusped window with hood-moulding and upturned stops. Above it is a second window with similar jambs, set off centre. (Davies 1948, p.110).
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Cellars are located below the house. ;Interior: Original cedar joinery, inc. six panelled doors, splayed panelled jambs to the windows and chimney pieces to the first floor; marble ground floor chimney pieces with sandstone mantlepieces; original geometric stair.
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St. Mary's is a nave and chancel church, with a bell-cote in the west. The doorway has two bevelled granite jambs. The east wall has an arched window, with the south and north having opposing flat arch windows.
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The three-sided quire faces the east. The original entrance with formerly purely Gothic jambs is now glazed to make room for a spiral stairway up to the gallery. Today, entry is through two side doors in the porch.
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In the north wall of the chancel is a long narrow window and the south wall has two square-headed windows. In the transept are two long lancet windows on the south wall. All the windows have rough (not ashlar) jambs.
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The church ruins consist of the west gable and part of the south wall. The west door jambs have chevron carvings on the architrave moulding. Five carved heads, a greyhound and a stone with dog-tooth decoration are over the door.
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The oldest surviving window in the church is a slit-style Norman opening in its north wall. On the outside, the jambs are formed of three substantial stones with slight chamfering—the lowest and uppermost laid flat and the middle stone standing upright. Between them is a sloping sill, and at the top a semicircular arch connects the jambs. It is placed high in the wall, just below the roofline. The south wall has two 13th- century windows, and the three-light east window of the 15th century has stained glass as a memorial to Herbert Kitchener, 1st Earl Kitchener.
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Below and above the jambs, and extending through the surrounding wall, forming friezes, blind respective series of ogival and trefoil pointed arches, that in the lower socket mounted on paired columns with vegetable capitals. This blind gallery of trefoils and columns underlies a complete Apostolate, consisting of statues in the round and almost life- size. Six are shown on each side, attached to the wall, and separated by the jambs. The three archivolts are garrisoned by reliefs of seraphim on the inside, thurifer angels in the middle, and scenes of the resurrection of the deads on the outside.
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The jambs are splayed and there are deep window seats. The doors, paneling, floorboards, and stair treads are of pine. Most of the hardware is original. The west (right) wing contained the kitchen and service rooms, and the east wing, the plantation office.
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Doors and windows have molded surrounds, and doors are four panel. Surviving original mantels have simple Greek Revival pilaster and frieze compositions although some have battered jambs with eared friezes. Also in the house are two c. 1900 two stage mantels with colonnettes.
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The door jambs are inscribed with funerary prayers for Akhenaten and the Aten. The entrance from the antechamber to the outer hall is decorated with the Short Hymn to the Aten, and shows Meryre's wife Tenre making offerings to the sun-disc.
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The other elevations are composed of rubble limestone. It also features quoins and jambs of finished cut quarry faced stone. The house suffered a fire so only the stone walls remain. It was listed on the National Register of Historic Places in 1987.
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A feature which may possibly have been retained from the original church is the door jambs or doorposts, which date back to the Byzantine era. Entry to the church is usually through a side door in the wall facing the Campo San Cassiano.
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The large lintel stone, which was found lying in the chamber, stood upright creating an imposing monumental facade. Hencken, disbelieving the accounts of the local residents, placed the stone flat on the door jambs in its current position in order to excavate the chamber.
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A monastery was founded at Balla by Mo Chua of Balla (d. AD 637). The tower is believed to date from the 12th century, judging by the moulding on the lower jambs. The tower was used as a bell-tower in the 19th century.
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It is located in the northern part of the transept. It has a Plateresque portal by Francisco de Baeza, flat pilasters, on pedestals, with jambs and lintel with carved plant ornaments. It has a large frieze and pediment, with the arms of the bishop Fadrique de Portugal.
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It had a neck rail and manacles., Õhtuleht, vaadatud 28. juuli 2013 The arcade ends with the town hall's main entrance in the right side. The main door differs from other smaller doors and hatches with beautiful statuary jambs and three stairs that lead to the door.
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Tribute scene Cretans (Keftiu) bringing gifts to Egypt, in the Tomb of Rekhmire, under Pharaoh Thutmosis III (c. 1479-1425) The passage is further decorated with scenes. The numbering follows Porter and Moss. # The lintel and jambs of the doorway are inscribed with texts of the deceased.
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5, 6). The next section of the main E facade than breaks back to three-bay section (windows) rising for three storeys, again rendered over, but of stone rubble (Fig. 22, 23). The ground floor has a rebuilt central doorway with rubble jambs and a modern door (Fig.
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Windows 8 and 9 have 6 pane window sashes with evidence of sash flags dating of the early 20th century to an earlier design. Holes are evident in the jambs of both windows probably from pivot hinges used for early windows shutters which were probably of a single leaf.
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The upper bedroom quarters may be reached by a small turnpike stair. A massive chimney stack tops the east wall of the north wing. The building is of red rubble, with tooled and polished ashlar dressings. The doorway has filletted roll to moulded door jambs, and stepped hood mould.
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They are followed by the Resurrection and Pentecost. Above them, surmounting a "cross flower", is the Coronation of the Virgin.Acres (2000), 83 The jambs on either side of the Virgin are adorned with statues, most likely of Old Testament prophets. Of these only David, second to the left, has been identified.
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The church was first recorded at about the beginning of the 12th century, but was almost entirely rebuilt in the second half of the 19thC. Some stonework from the earlier structure may survive specifically the west wall and the jambs of the south door which could be relics from its predecessor.
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The Chapel - The east window of the chapel dates from the 14th Century. In the window are a number of medallions and panels of the arms of previous bishops. Within the jambs are carved stiff-leaf foliage. The walling is of Quarr Abbey stone as well as a little flint.
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A stone church with a flat-headed trabeate doorway, sloping jambs and single lintel; and a chancel added later. The east window is triangle-headed and formed of two stones. The enclosure covers . The outlines of over 20 structures (mostly house-sites) can be discerned as mounds, and over 16 sub-enclosures.
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The enclosure provides two entrances, one at the eastern corner, one at the northern corner. These entrances once consisted of massive, stone-made door jambs, the material of the door wings is unknown.Matthew Douglas Adams & David O'Connor. "The Shunet El Zebib at Abydos: Architectural conservation at one of Egypt's oldest preserved royal monuments".
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The Dalgarven Arch was an ogee topped doorway with jambs of clustered gothic shafts. John Connel, builder of the present Kilwinning Tower, is said to have brought the stones here from Kilwinning Abbey. However, they do not appear to have been contemporary with Kilwinning Abbey. They are no longer situated at Dalgarven.
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The other windows are later and of two cinquefoiled lights. Both doorways have continuous moulded head and jambs, and there is a pseudo- Gothic plaster ribbed ceiling to the porch. At the west end of the south aisle is a stone wallbench. The clearstory windows are square-headed and of two trefoiled lights.
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May 1855. A plan of Kilmaurs Place enclosed. Pub. Edinburgh. 1885. A fine 16th-century fireplace and carved jambs are located in the Place itself. The original entrance was at the staircase projection, the door still being visible in the fabric of the building and an armorial panel above is still visible above.
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The single-story south porch is Perpendicular and features a crenellated parapet, diagonal buttresses and large carved grotesques at each corner. The south doorway is Norman. The jambs have circular nook-shafts topped by leafy capitals. The arch has a dog-tooth pattern and a beak-head at the apex and terminals.
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Behind it is an oblong mandapa with three square shrines. The side shrines were originally placed about two feet behind the central one, but all three shared a common raised base. The entrance to the shrines had dvarapalas, now largely missing. Like other Hindu temples, this was an open structure without evidence of jambs.
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From the north-east angle of the cellar a turnpike stair leads to all storeys of the tower. The hall has a wide fireplace and four windows. There are two aumbries in the jambs while a third aumbry has an ogival lintel. The bedroom, on the second floor, has a wall press and a garderobe.
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The sanctuary doorway is framed by jambs, including those with serpent bodies culminating in a flying Garuda over the lintel, with male and female figures beneath at either side. A linga on a pedestal, perhaps replacing a sculpted icon, is seen within the sanctuary.Michell, George (2014). Temple Architecture and Art of the Early Chalukyas.
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During this period sanctuary side was vaulted, entrance hall of the church was finished and jambs and windows were stone craved. Master builder Brengyszeyna cooperated with stonemason Nicholas from Levoca. The new church nave and the south hallway with oratory were built in 1511. Oratory has decoration with Late Gothic motifs of rotating flamed tracery.
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There are spire discharge arches with rectangular jambs. The interior surface of the dome and pendentives are decorated with over-the-gate pen works. Both "C" and "S" curves attract visitors’ attention among these brown, black and red ornamentations. Written underneath the flower designs are the word, "Maşallah," and date, 1181 Hijri (1667-1668).
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The west front faces Love Street and has five bays. The lower storey contains a damaged central round-arched doorway, with rusticated jambs, voussoirs, and a triple keystone. To the sides and above the door are sash windows, above which is a broken pediment containing a round window. The south front faces Forest Street.
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Situated in a grove of trees, this nave-and-chancel church dates from around 1100. Most of the surrounding walls are modern. The name derives from Righ Fearta, the burial place of the kings. The church, built in a simple style, has a granite doorway with sloping jambs and flat lintel and a granite chancel arch.
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Small arms and ammunition were stored in the upper floor. The building was constructed in rubble work, window and door jambs are executed in cut stone of Buntsandstein. At the open court side the new arsenal was erected in baroque architecture since 1738 by Johann Maximilian von Welsch. The old arsenal was used since 1770 as electoral mint.
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The chancel is long and wide. The chancel arch dates to the 11th century and is the oldest part of the church still visible. The head is of two rings, with plaster or rubble filling. It has 14 small, variously sized voussoirs and has become slightly flattened as a result of subsidence with the jambs not quite vertical.
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The south wall contains a doorway with long-and-short jambs and an arch with concentric grooves. Near the chapel is a group of six rock-cut tombs and a separate group of two rock-cut tombs. Each group is listed at Grade I, and each tomb has an associated socket probably intended for a timber cross.
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The La Magdalena Coapa church has a Neoclassical facade. Its interior is covered by three vaults and a circular cupola. The cypress in the presbytery has been there since the beginning of the 20th century. ''' The San Pedro Mexicaltzingo church has a very simple facade with a round arch doorway, imposts and narrow jambs on its also narrow windows.
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The temple is brick-built with projecting buttresses and false doors on the west, north and south. The eastern door has a stone frame with ornamental pillars and an elaborately carved lintel. The inner door jambs are smooth and carry inscriptions. These give a date of 932 CE (Śaka year 854) and thus a date for the building.
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Collecting taxes as depicted in the Hall Using the labeling in Porter and Moss, there are eleven scenes or combinations of scenes inscribed in the hall of TT100. # The lintel and jambs of the entry into the hall show offering scenes. # Rekhmire inspects officials and other individuals. The duties of a vizier are recorded in the text.
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The masonry is blue stone rubble with a little freestone in quoins and window jambs. Some of the window details suggest 15th century, but have had so much reconstruction that dating is difficult. The ground floor chamber is unfloored and the irregular surface of the outcropping rock can be seen. It therefore may have been a storehouse.
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District No. 48 School is a simple wood-frame building with clapboard siding. It has a rectangular footprint with a small vestibule at the main entrance topped with a little belfry. Sited on a hill, the building consists of one story over a walk-out basement. Ornamentation is limited to Doric pilasters, fascia boards, and flared window jambs.
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He was one of the Churchwardens of the Parish in 1662, and his death is recorded in the Parish Register of 11 June 1690. His initials "B. R. 1660" were cut on a large stone block, originally one of the jambs in the old ingle nook of the "Black Bull Inn." Rothbury, now long since demolished.
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The lintel named the house as Maison du Jouir (i.e. House of Pleasure), while the jambs echoed his earlier 1889 wood-carving Soyez amoureuses vous serez heureuses (i.e. Be in Love, You Will Be Happy). The walls were decorated with, amongst other things, his prized collection of forty-five pornographic photographs he had purchased in Port Said on his way out from France.
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The south elevation features a continuous, flat reinforced-concrete hood over the lower windows. The building retains much of its original timber-framed joinery. Windows to the east-end section are hoppers with rendered projecting jambs, and the west-end section has mostly casement windows. Classrooms have banks of south-facing hopper windows with fixed timber shelves to sill height.
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This strengthens the theory that stones used at Escomb were brought from Binchester. Many of the stones show Roman tooling, which is common in Anglo-Saxon churches. The chancel arch is of typical Roman form, tall with massive stone jambs, simple chamfered imposts and precisely-cut, radial voussoirs. It is unlike the non-radial voussoirs that the Anglo-Saxons typically made.
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On its east are a living room and library, both with original detailing. The library's chimney breast has original fireplace jambs, a raised hearth and stile and rail paneling. The living room's fireplace has its original Delft tiles, a shallow cornice, dentil border and torus and plain molding. The west wing's second floor has a large landing with beaded woodwork.
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The first gateway crosses an enclosed cartouche of Ptolemy VI. On the interior façade of the first gateway are passages of Ptolemy XI and Ptolemy XIII. The jambs next to the first gateway depict Nefertum bearing a blue lotus flower. The second and fourth gateways contain cartouches in the name of Shabaka. The third gateway cartouche is in the name of Ptolemy XIII.
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The access portal is in the left crossing of the church, and its austere Baroque design contrasts with the wealth of the interior. It has a cushioned rounded arches, as well as the decorated and the jambs, slightly trumpet-shaped and framed by tuscan pilasters and corinthian columns. Finish the arch something similar to a balcony with a window between pilasters.
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Parts of the jambs are described as the "terminal and lateral recesses of the trefoil." Some remnants of pottery were found here which could not be identified because of the fragmentary nature. The smaller, circular cairn was excavated up to its foundations. A slab covering was found in the cavity as grave robbers appeared to have tried robbing the tomb's interior.
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Newbiggin once belonged to Jervaulx Abbey. Newbiggin is home to a number of 18th-century houses, one of the more notable ones is in the north end of the parish. This house in particular has a doorway which is said to have: "a cambered lintel with a quatrefoil in each angle and moulded jambs". Above this door there is an inscription dated 1636.
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The sanctum door consists of a carved lintel, two carved jambs and a sill. To the right is goddess Ganga standing on her vahana - the makara (crocodile-like mythical creature), on the left is Yamuna goddess standing on her vahana - a tortoise. They have attendants standing with them, but their images are too mutilated. Above these goddesses are three parallel bands of carvings.
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The door of the temple is neatly carved. Over the lintel are Navagraha, the nine patrons of the planets, and the jambs are carefully sculptured. In the entrance hall, mandap, are four pillars with a square block sculptured below the bracket, and six pilasters. The shafts support a plinth, on which stands a block carved with colonnettes at the corners.
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There are well carved supply sluices on the east side. Their buttresses or jambs of sluices resemble those of the minarets of mosques in Ahmedabad. Between these buttresses, there is a screen six feet thick screen punctured by three large openings for inflow of water. These openings are six feet in diametre and the margin of it is beautifully carved.
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The Sprague, Brown, and Knowlton Store is a historic building located in Winterset, Iowa, United States. Built in 1866 to house a dry goods store, it is an early example of a vernacular limestone commercial building. with The two-story structure is composed of locally quarried ashlar and rubble stone. It features chamfered quoins and jambs, and a bracketed stone cornice.
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The main entrance contains a central arched doorway. Brownstone jambs on either side of the door rise to a pointed brownstone pediment. On this surround are the words "Payntar Memorial", after John Goldsmith Payntar. The church building has stained glass windows designed by the partnership of Benjamin Sellers and William J. Ashley, although a single window was commissioned from A. Passage.
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The site for the church was given by Mr Denison of Scarborough. It was built to designs of the architect Robert Hargreave Brodrick. The church comprises a nave, chancel, apsidal vestry, organ chamber, south porch and bell cote. It was built in brick with stone dressings, moulded red and blue Staffordshire bricks being used for window jambs and string courses.
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The old part of the city comprises 19th-century wooden houses with original balconies, jambs, and lintels. The house of the gold mine's administrator, Simonov, has also been preserved. Lake Turgoyak is located near Miass and is a popular tourist location, with crystal clear water. Miass has a rich mineralogical museum, as it is close to the Ilmensky Mineral conservation area.
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The station building was built in 1906 and has three storeys. It was built in the Heimatschutzstil (“homeland defence style”) in a pragmatic baroque form. It is a stucco building with striking embossing in Taunus quartzite of its lower storey and on the outsides of its upper widow jambs. It is classified as a monument under the Hessian Heritage Act.
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Porter, Bertha and Moss, Rosalind, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Statues, Reliefs and Paintings Volume I: The Theban Necropolis, Part 2. Royal Tombs and Smaller Cemeteries, Griffith Institute. 1964, pg 756 The outer jambs for the main hall contain a text by Ramesses VI. The queen appears before several gods, including Ptah. and hawk- god, the god Anhur-Shu and Atum.
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At its west end is a 14th-century Decorated Gothic chancel arch. This measures by ; the height to the imposts is . The imposts are thin (about across), are made up of two stones and have been partly renewed—perhaps to support the weight of the tower when it was added. The jambs of the chancel arch are supported on plinths that project only slightly.
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The vestry door has medieval jambs and the keystone of its arch, which is also medieval, is a carved human face. Some parts of the nave walls may also come from a previous building here. The church is no longer used for worship, and the village is now served by a church in Llanfairpwll. As of 2011, the building (without the surrounding grounds) was for sale.
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Further texts on the lintel and the jambs. The south-west wall contains a scene of relatives at a banquets before the vizier Useramen. On the adjacent western wall Amenemhat is shown offering to his ancestors and in another register to the architect and artisans who crafted the tomb. The north-west wall shows Amenemhat with his wife Baketamun and their son Amenemhet before offerings.
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The exterior is in stone masonry with four columns; the interior consists of concrete pillars and slabs dating to the 20th century. The ground floor has four doors and three windows with alternating curved frames and wooden jambs. The second floor has seven windows with small, decorative balconies with wooden balustrades. The lateral façades of the upper floor have windows similar to those of the main façade.
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Leaves are medicinal especially in treating skin rashes. Seeds are edible and taste like groundnut. Because its wood is hard and difficult to cut and is as strong as molave (Vitex parviflora), its highly preferred for heavy construction such as bridges, beams, joists, poles, wood piles of wharves and piers, veneer, and plywood, also for door faces and door components like jambs, stops and casing.
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Its architecture is based on 16th century traditional styles. The main part of the building has a cubical form, crowned with one illuminated and four decorative drums decorated with arcature and bearing large onion cupolas. The decor of the facades is simple: plain cornices and mouldings and window-jambs on rollers. In 1880, the chapel, refectory and bell-tower were rebuilt in a pseudo-Russian style.
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The south nave wall is of three bays, with a buttress between the nave and the chancel. The windows date from the restoration of 1862. At the left of the south aspect is a Norman doorway with jambs in three orders, the outer order having a chevron design and the middle one ropework. The north aisle has two bays to the chancel and three to the nave.
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On both of the jambs his real ("great") name and his nickname are spelled. Khabawsokar wears a fine curled wig, a heavy and finely ornamented gold collar and a belt with a golden lion head as a belt buckle. His kilt is made of leopard fur and his shoulder knots are jackal-shaped. Possible contemporary office partners of Khabawsokar may have been Hesyre, Metjen, Pehernefer and Akhetaa.
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A circular wall with a six-panel wooden door rounded to mimic the wall's curvature was located between the entrance hall and the stair hall of the Wirgman Building. The stairway's balustrade in the stair hall featured turned baluster shafts and a newel post crafted from maple. The stairs themselves featured scrolled step ends. The building's interior doors were six-panel wooden doors with paneled door jambs.
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The main building is one storey high, 4 windows across. In addition, there is a two-story accumulator tower to the left hand side of the building. The dressings include pronounced quoins, jambs and voussoirs. The entrance is a wide elliptical-arch, which would have been large enough for carriages, and there is a large semicircular-arched window to the left of the entrance.
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In 1912 it was reported that one of the piers had been replaced by a simple wooden post. Two windows were located in the east wall, with two openings in the south wall. At the western end was a vaulted passage, which by the early 20th century had been partially bricked up. A fireplace was located in the north wall, with moulded four-centred arch and jambs.
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Leeney, op cit. The three Norman windows in the apse have been restored, but the jambs and rere-arches are ancient along with the small Norman window at the west end. The Norman sandstone font was provided an octagonal stem base in the 14th century, and parts of the ancient flint walls were repaired in places with 18th-century brickwork. The single bell dates from 1829.
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Clonkeen Church is a small rectangular church with antae at the east and west ends. The west part of the church, incorporating the west doorway is Romanesque, built of roughly coursed large stones, mostly sandstone. It has a well-preserved doorway with an arch of three orders, with Romanesque carving around the jambs. The capitals and columns with chevrons are similar to those at Aghadoe.
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Both the first and second floors have two rooms, each about , on either side of the wide corridors. The entrance hall, long by wide and high, is divided towards the rear by a pilaster-supported doorway. The interior of the mansion is considerably decorous. The deep brick walls permit the use on every window, of inside or wainscot shutters which fold against the jambs.
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There is a barrel-vaulted cellar on the ground floor. Traces of 18th century wall painting may be seen in the Hall, which also has the bases and moulded jambs of the fireplace. An iron grille, part of the original defences of the door, is preserved within. Beneath the 17th-century extension, there is a ditch which was filled in for the construction of the wing.
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The principal entrance doorway faces east with pillared jambs, carved tympanum and moulded arches set in a projecting porch. The tower, with its lantern belfry, extends above the level of the nave roof. It has deeply recessed windows on each face and is finished with a moulded cornice. From this point, the tapering spire rises to a height of 40 metres and is surmounted by a cross.
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It is also used in door and casement window jambs, and for shiplap planking. A rabbet can be used to form a joint with another piece of wood (often containing a dado). Rebate joints are easy to construct and have good appeal to them. They are simple to use in carpentry based work but can be doubtful when it comes to the strength of the joint.
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The construction of the building was carried out in different stages. The parish is a large atrium space with a cross of carved stone in the center. Indigenous and Christian symbols adorn the four corner chapels in the pits. There is an open chapel with columns on the facade and two stone jambs built by Native Americans and carved with work from their philosophical perspective.
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External joinery is Indian teak (termite proof), explaining the thick, sturdy glazing bars of the French doors (as teak does not lend itself to fine detail). The internal joinery is cedar and painted. It is of a high standard, featuring many pairs of four paned, double doors (i.e.: 8 panelled doors) with matching jambs, timber fireplace surrounds of simple Georgian design, and deep skirting boards.
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The chapel, in particular, was a mix of architectural styles – Gothic revival and baroque.Crook (2008). p. 79. The chapel is mixture of late Gothic tracery, Renaissance swags of fruit and foliage, cherubs and cusps, fan-vaulting and Corinthian capitals. In the first place there was the old chapel of St. Mary's College, the roof and window jambs of which were used up again in the new building.
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The ruins represent a typical Early Medieval church, with a simple rectangular room, accessed via a western lintelled doorway with inclined jambs, tapering from the base to the top. The building measure 10.35m long by 7.70m wide. The large blocks of stone that make up the walls of the ruins sit on a stone plinth, which projects slightly. Some limestone blocks in the wall measure an average of 2.5m by .90m.
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It was cased in stone between 1320 and 1340 to prevent deforming of the base crucks under shear stress. The hall has two equal bays and the four two- light windows have been replaced in the twentieth century by three-light Perpendicular windows. The stonework of the northeastern doorway was largely renewed in the nineteenth century. It has wave-moulded jambs, voussoirs and an ogee-scroll hood mould.
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The original southern doorway was less important and similar in style, but with chamfered jambs. The northern end of the east wall abuts the north range with a straight joint, while the joint of the north range with the west wall is obscured by plaster. The doorway in the east wall has been rebuilt in brick. The west wall of the hall is castellated and probably early nineteenth century.
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It is so called because indulgences were granted to penitents who entered through it. These days it is always closed and is used only on special occasions and upon the investiture of new archbishops of the primate cathedral. It has one great arch with six Gothic archivolts. The decoration consists of typical Gothic iconography, with the figure of the Saviour in the mullion and an apostolates in the jambs.
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These may have served as squints originally. The structure dominates the nave through its sheer height, the use of massive square stone blocks with a smooth, plain finish, and the three moulded shafts on each side. The jambs terminate in bulky chamfered imposts. The arch has been compared to that of another Grade I-listed Anglo-Saxon church in West Sussex—the slightly older St Nicholas' Church at Worth.
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The nave's dimensions are , and the walls are about thick. The Norman doorway, reset on the north side in its 15th-century porch, have jambs with five stones of irregular length and a five-stone arch. The belfry, at the west end of the nave, sits on top of the roof with no structural link to the inside of the building. It has a shallow pyramid-shaped roof.
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This temple enshrines three garbhagrihas with the temple is fully decorated with Jain sculptures. The temple was earlier a Brahmical temple dedicate to Surya but was transformed to a Jain temple which is evident from carvings of Hindu God Surya, Shiva and Vishnu on door jambs. All three shrines of this temple are now occupied with idols of tirthankaras. The temple houses a finely carved five–hooded idol of Suparshvanatha.
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The blocked doorway in the modern north aisle is the oldest surviving part of the church. Its lintel is thick and sits below 11 voussoirs, each about across. Below the lintel, the former opening is high and wide; gradual settling into the ground has masked its original height. The jambs are made up of five stones of equal height, but the uppermost is wider because it served as an impost.
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The reconstruction gave it the neogothic look, especially marked by a tower (steeple) on the southeastern side, bay windows, garlands and door and window jambs. Although having been devastated and ablazed for several times during the wars in the past centuries, this building structure, considered by many as the most beautiful and most romantic castle in Međimurje County, was always renewed. It now functions as a local primary school.
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There is a suggestion of a platform in the southwest corner, and the door is at the east side of the south wall. it is in width, with a surviving (though worn and cracked) threshold stone, showing visible seating for stone jambs and pivot hole. The turret's internal dimensions are east/west by . Outside the turret, a path consisting of small stones and amphora fragments was discovered leading to the door.
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The main house was built circa 1916 of rock-faced concrete block on the ground floor, with a shingled second story. The shingled section uses Shingle Style detailing with a projecting bay under the gable flanked by curving returns, with an attic window between two inward-curving shingled jambs. The gabled roof incorporates plain and bayed dormers. A frosted front door depicting Niagara Falls is a notable ornament.
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Surrounding each doorway were raised jambs, a heavy pediment, and entablature within which was carved an Egyptian-style winged sun and asps.Richard G. Carrott, The Egyptian Revival, 1978, plate 33Louis Torres, "To the immortal name and memory of George Washington": The United States Army Corps of Engineers and the Construction of the Washington Monument , (Washington, D.C.: US Government Printing Office, 1984). Some of these details can be seen in the 1860 photograph below at Donations run out, after clicking on the image and viewing the original file at its highest magnification. This original design conformed to a massive temple which was to have surrounded the base of the obelisk, but because it was never built, the architect of the second phase of construction Thomas Lincoln Casey smoothed down the projecting jambs, pediment and entablature in 1885, walled up the west entrance with marble forming an alcove, and reduced the east entrance to high.
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One of the earliest and best constructed of the churches, St. Mary's or Our Lady's Church consists of a nave with a later chancel. Its granite west doorway with an architrave, has inclined jambs and a massive lintel. The underside of the lintel is inscribed with an unusual saltire or x-shaped cross. The East window is round-headed, with a hood moulding and two very worn carved heads on the outside.
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The first floor plan is repeated on the second floor, except that an additional room, a small chamber, is located at the end of the hall. The two large bedrooms on the east side of the hall are fully paneled. The fireplaces in the central block are faced with either Dutch tile or marble and are framed with wood paneling. The windows have jeep paneled jambs and soffits, with architraves to the floor.
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Little of the original interior fittings remains. The doorway into the chamber has 17th-century moulded jambs in which are three carved stone shields. The chamber is now used as a scullery and its south wall was a stone fireplace which is now mostly destroyed. The chamber is about high with a plain plastered ceiling but parts of the original ceiling still remain in the entrance lobby with some moulded main-beams.
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The John Rowan clerk of works were there to provide site monitoring and supervision services. The enquiry took evidence from Mark Dixon of SB Plastering on the window reveals. The window reveal is the surround of a glazing unit perpendicular to the glass. The glazing unit creates an interior reveal, and an exterior reveal, the top is known as the head, the bottom is the sill and the sides are called the jambs.
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The temple door jambs are intricately carved, in vertical bands that are concentric around the entrance. On top left of the entrance wall is river goddess Ganga holding a water vessel and riding her crocodile vahana, while the top right has river goddess Yamuna also holding a water vessel while riding her tortoise vahana. Goddess Ganga is plucking a fruit from custard- apple tree, while Yamuna is plucking one from a mango tree.Cunningham, Alexander (1879).
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It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th- century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security.
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The northern wall shows a man dressed in a jaguar outfit and helmet, standing on a jaguar-skinned serpent. This character has a bundle of darts dripping water from one end. The building's jambs are also of interest. On a blue background, two characters appear: a jaguar-man who pours water into a Tlaloc pot and a Maya with a snail, from which emerges a little red-haired man—probably representing the sun.
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This barn was built by one of them, but it is unknown by which one. with It was built with locally quarried limestone. It is attributed to David Harris because the following elements of his work are found here: a rectangle plan that is asymmetrical massed, two-against-one broken bond, and textured surfaces on the quoins, jambs and lintels. The barn was listed together on the National Register of Historic Places in 1993.
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Next to the gabled entry section is a hip-roof portion of the house's front containing a paired casement leaded glass window with cut stone jambs on the first floor, and double-hung windows on the second. A shed dormer projects from the roof above. On the other side of the entrance is another paired leaded glass casement window, along with a pair of leaded glass French doors, above which is a double-hung window.
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The elevated entrance with its Gothic archway, with jambs made of tuff, lies at about four metres above the ground on the northern side and leads to the first floor. Putlog holes on the exterior show where the staircase access was. The doors turned in a carefully hewn out stone ring and could be locked with a bar. In the lower two storeys were cellars and storerooms that were only lit by narrow window slits.
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This simple white limestone façade is a good example of plain the Franciscan-Gothic architecture, it expresses their religious ideology of poverty and simplicity. The façade has very limited decorative elements mostly around the portal. Originally the rose windows probably had an elaborate tracery pattern that is now lost. The decorated door jambs, like the apse, show a richer quality of gothic details that probably came at the end of the construction.
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The portal is the work of the sculptor Nicholaus, a pupil of Wiligelmus. The lunette shows Saint George, patron saint of Ferrara, slaying the dragon; scenes from the Life of Christ appear on the lintel. The jambs framing the entrance are embellished with figures depicting the Annunciation and the four prophets who foretold the coming of Christ.Daniel, Ezekiel, Isaiah, Jeremiah According to a now-destroyed inscription, Nicholaus was responsible for the design of the original building.
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This temple was rebuilt between 1814 and 1824. Amba Mata's shrine and the monastery close by are built of fragments of older temples. Over the enclosure gateway is a door of hard reddish stone, carved all round, which from the repetition of Devi on the jambs and lintels may have belonged to a Vaishnav Shakta temple ; sculptured slabs also lie about, and are built into the walls. The adjoining monastery belongs to the Atits of Ajepal.
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During his travels he witnessed the art of the Italian Renaissance. He incorporated some of the motifs he had seen abroad into the new house he built in about 1521 at Horton around the Norman hall, and the house is thus one of the earliest English buildings, comparable to Sutton Place, Surrey, and Hampton Court, to show Renaissance design features, most notably in the grotesque jambs of the front door.Kingsley, Nicholas. The Country Houses of Gloucestershire, Vol.
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Ground plan It originally had a basilica ground plan, three aisles with a barrel vault, although part of the original structure has disappeared as the building collapsed during the 12th or 13th century. Nowadays, it conserves its western half from that period, together with several elements in the rest of the church such as the fantastic jambs in the vestibule or the extraordinary lattice on the window of the southern wall, sculpted from one single piece of stone.
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Cave 14, the last cave on the left hand side at the top of the passage. It consists of a recessed square chamber of which only two sides are preserved. The outline of the chamber is visible in the floor, with a water channel pierced through the wall on one side as in the other caves at the site. One side of the doorjamb is preserved, showing jambs with receding faces but without any relief carving.
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These are hung on laths nailed to wall timbers, with tiles specially molded to cover corners and jambs. Often these tiles are shaped at the exposed end to give a decorative effect. Another form of this is the so-called mathematical tile, which was hung on laths, nailed and then grouted. This form of tiling gives an imitation of brickwork and was developed to give the appearance of brick, but avoided the brick taxes of the 18th century.
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This small rectangular church on the southern shore of the Upper Lake is accessible only by boat, via a series of steps from the landing stage. West of the church is a raised platform with stone enclosure walls, where dwelling huts probably stood. The church, partly rebuilt in the 12th century, has a granite doorway with inclined jambs. At the east gable is an inscribed Latin Cross together with several plain grave slabs and three small crosses.
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Remnants of the old church were incorporated in the new. The arch of the original Saxon south door was reset in the north wall, surrounding a 13th-century grave-slab. The jambs and arch are undecorated and unmoulded, but outside these are three half-shafts and half-rolls, above which are plain slabs as capitals. Above the door is a stone bearing the date 1635, when the old church was restored, and the names of the two then churchwardens.
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The blaze left only half of the foundation standing, and none of the wooden portals survived. All Saints' was soon rebuilt, albeit without many priceless works of art that were lost forever. After Wittenberg was incorporated into the Prussian Province of Saxony, King Frederick William IV, in 1858, ordered commemorative bronze doors to be mounted onto the jambs where the original wooden ones had been located. On the doors the Theses are inscribed in their original Latin form.
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This had been blocked off when the south aisle and arches were constructed in the early 14th century and was restored in 1896. On the south side, on what was originally the exterior wall, it has an arched lintel and jambs of two very wide blocks each and no sill. The aperture is about wide and high. The north face is widely splayed, with a round head of three long voussoirs; the window is about high to the springing.
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This figure is not praying on her knees but is sitting on two lions. The jambs are Saint Andrew and Moses. In the left abutment, the Biblical King David seated on his throne with his legs crossed, translucent through the thin fabric of his clothes, and playing what appears to be a rebec, personifies the triumph over evil and is an outstanding Romanesque work, sculpted by Master Esteban. The creation of Adam and Christ's blessing is also shown.
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Carefully executed in relief, it represents one of the most beautiful epigraphic bands of Islamic art. The library is near located, accessible by a door which the jambs and the lintel are carved in marble, adorned with a frieze of floral decoration. The library window is marked by an elegant setting that has two columns flanking the opening, which is a horseshoe arch topped by six blind arches and crowned by a series of berms sawtooth.Néji Djelloul, op. cit.
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The medieval church is largely ruined. The church is in length, in width and is largely built of coursed limestone blocks, with the exception of the east gable which was rebuilt at some stage with sandstone. The granite jambs used in its construction may be taken from the earlier monastery. The only features of the church left are a broken window in the east of the south gable and a semi-pointed doorway to the west.
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It features quoins and jambs of roughly squared quarry faced stones on the main facade. There is a door on the south gable end, two metal ventilation pipes on the ridge of the roof, and no windows. Built sometime between 1875 and 1885, it is the only stone ice house known to exist in Madison County, and it is one of the few outbuildings built of stone. The ice house is located next to the garage, behind the house.
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The porch encloses a narthex that is richly polychromed (a later restoration). All four sides of the narthex have portals, the jambs and archivolts of which are decorated with sculptures. The second stage of the porch features a complex tracery balustrade with heraldic shields and blind round arches framing the pointed arched windows. Within the narthex, the ribs are completely decorated with sculptures and the main entry to the church features a tympanum showing the Nativity.
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It has coloured ceiling bosses depicting a wide array of subjects, including flowers, griffins, the beasts of the Apostles and a head of Christ. The fireplace, cut to fit and with jambs from a different piece, is from a château in Beauvais. The entrance screen is from a Devon church. Hearst's breakfast room, off the banqueting hall, reuses another piece of the St Botolph's ceiling, as well as a fireplace from the prior's lodgings at Bradenstoke.
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A cross-gable-roof three-bay garage is sited near the house and connected by a gable-roof porte cochere. The central entrance door projects outward and is enframed with cut stone jambs and a brick arch overhead. A leaded glass panel is within the arch, and casement windows with stone surrounds flank the entrance. Above the door is a broad triple leaded glass window, and in the gable peak above is a decorative arched window.
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What appears to be the main entrance to the barrow, with intricate dry-stone walling and large limestone jambs and lintels is, in fact, a false one. This may have been to deter robbers, although little in the way of value has been found in undisturbed tomb chambers. Alternatively, it could have been a ‘spirit door’, intended to allow the dead to come and go and partake of offerings brought to the tomb by their descendants.
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The walls survive to a height of more than 2 metres and in some cases preserve the ancient holes for the roof beams. In many cases, the layers of plaster which covered the interior walls are also preserved. In one of the structures, an entire door is preserved, including jambs and architrave. The walls were built of rough sundried mudbricks, probably mass-produced since almost all of them have the same measurements (60 x 60 x 15 cm).
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The floor of the church is all new except for the crypt hatches. New heating and electrical systems where introduced into the building. In the 1960s, a free-standing altar is added. From 1994, to 2020, the Associazione Valorizzazione del Patrimonio Storico Onlus and Massimo Violati sponsor the restoration of the entrance door jambs, the restoration by Bruno Bruni of the Ceramic bust of San Bernardino, and the restoration of the 14th century wood entrance doors.
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It is built of stone, with a (non original) timber shingle roof and has a simple, Doric, timber portico. It has small paned casement windows and six panelled doors set in panelled jambs with elaborate architraves. The entrance door is a wide pair of French windows with Georgian glazing. The wide entrance hall with a timber, cantilevered stair, beneath which a door with a semi- circular fanlight leads to the rear of the house, is particularly fine.
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The central bay features a projecting one-story porch with Victorian detailing, with a curved bay above and a small, steep gable above the bay. The upper levels feature shingle style details, exemplified by the curved bays and rounded recessed window jambs. The rear of the house features a depressed roofline just above the second floor with partial dormers over the windows, which cut through the eaves. The hipped roof contrasts with the towered front elevation.
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One of the two portal-stone sockets still contained the fractured stump of the stone which had stood in it. The gallery had been segmented with sills and jambs and was at least 5 or 6 segments long. No trace of burial deposits was found in situ, although some cremated, presumably human, bone and three primary flint flakes were found. A 'nest' of winkle shells were found placed in a pit as a secondary deposit in the grave.
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The space was certainly vaulted because traces of two piers and a Late Gothic impost survived on the western side while another impost and pieces of ribs, jambs, tracery, fragments of two stone basins, two green stove tiles (depicting Saint George) and a maiolica floor tile (depicting a draw well) were also discovered in the rubble. The stone architectural fragments were painted red, white, green and black. Supposedly the building was one- or two-storey high and built in the 15th century.
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2, 3) (now supporting the 18th C. S range) and the Southern outer courtyard walls, which contain significant sculpted masonry features: a large granite gateway with an arched four centered head, continuously moulded jambs and leaf carved spandrels. (Figs. 5, 6) It leads to a former stable range on the E side of the courtyards. This now external granite gateway is similar to the (now internal) W entrance of the screens passage (Fig. 7) of the remaining Tudor (or Giles) Hall.
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The original east window was blocked later, and two lancet windows were inserted in its place in the 13th century. Similar windows were added to the north and south walls at the same time. The 12th-century entrance in the north wall was also bricked up, but its stone jambs are still visible. Minimal restoration was performed in the 19th century, in contrast to many other Sussex churches, although the original bell-turret was replaced by one topped with a spire.
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The mostly ruined Black Pyramid dating from the reign of Amenemhat III once had a polished granite pyramidion or capstone, which is now on display in the main hall of the Egyptian Museum in Cairo (see Dahshur). Other uses in Ancient Egypt include columns, door lintels, sills, jambs, and wall and floor veneer. How the Egyptians worked the solid granite is still a matter of debate. Patrick Hunt has postulated that the Egyptians used emery, which has greater hardness on the Mohs scale.
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The first station was built in 1868, but the current building was opened in 1905 for the Genoa international exposition. A project proposal was presented in 1902 by the engineer Giovanni Ottino that provided for a building for a 105 metre long, divided into three buildings on a central axis of symmetry. The building incorporates romantic "renaissance" themes of the French school of architecture, enriched by extensive decorations. The pilaster jambs and frames of the first floor are mostly white.
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Above the niche there is a stylised chaitya. The baranda portion decorated with muktalobhi hansa flanked by two stylised chaitya. The jagamohana is a rectangular hall in shape decorated with three baluster windows, one measures 1.20 metres in height and 1.00 metres in width except this the jagamohana is devoid of ornamentation. The jambs of niche is decorated with three vertical bands of scroll works like lotus leaf, beaded design and floral motif from exterior to interior flanked by two vertical pilasters.
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The photographs illustrate that the entrance arch has been removed and the two terracotta lions are now located at Haining Mains Farm. The steps leading up to the first floor of Haining Place are identifiable together with a contemporary stone and brick built arched support to a first floor structure. The first floor building is almost entirely absent. Two stone bases to internal revetted door jambs are prominent features mid-way along the building, indicating a possible great hall and private chambers division.
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The three archways which led to the quays – one original round-headed arch and two segmental-headed arches from the early 14th century – are visible in the house's west wall, but they are blocked. These arches contain two vertical defensive slits from the 14th-century defences, which may be Britain's earliest surviving gunports. The first floor fireplace was located on the north side of the house. Surviving remains of the fireplace include both jambs with their scalloped capitals and inset shafts.
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The main drawing room has a large bay window framed by an arch. The windows are large double-hung timber sashes with two panes per sash. While the side windows have long been removed and replaced by French windows and fanlights, evidence of their existence remains behind the door-jambs on the verandah, above the fan light and from the part removal of diagonal bracing. Original timber ceiling roses have been uncovered throughout the house and replicas have replaced those that were missing.
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Capitals in the crypt transept and ambulatory have been linked to similar capitals in the Burgundian design and continues with the portico's large, rounded tympanum and double-storied jambs. The figures of the tympanum are made up of a large number of individual reliefs set up side by side. Those on the innermost jamb are not attached to the columns but rest like plaques. The portico represents the Written Law, the Law of Grace and the Natural Law, what can be called Glory.
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The north wall has a doorway with a well moulded, four-centred arched head and jambs of 15th century date (perhaps removed from the south transept wall when the door under the window was closed up and re-set here in 1828). The 165 ft high spire is surmounted by a weather vane comprising a gilded cock measuring 3 ft 3in from beak to tail, and 21in high. This was originally placed on top of the spire when this was rebuilt in 1733.
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In the Ptolemaic period, the Egyptian priest and historian Manetho credited him with inventing the method of a stone-dressed building during Djoser's reign, though he was not the first to actually build with stone. Stone walling, flooring, lintels, and jambs had appeared sporadically during the Archaic Period, though it is true that a building of the size of the step pyramid made entirely out of stone had never before been constructed. Before Djoser, Pharaohs were buried in mastaba tombs.
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Schottenportal The portal is divided into thirds both horizontally and vertically. At the lowest level, the door is framed at the center by richly decorated jambs, at each side of which stands a flat field interspersed with various relief sculptures. The second level is occupied by the tympanum and archivolt at the center and by blind arcades with caryatids at right and left. At the top, a frieze showing Christ with the twelve apostles stands at the middle, while figureless blind arcades stand at either side.
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In the north wall of the nave are two 12th- century windows with semicircular heads, and a doorway from the same period. The doorway contains a door with 12th-century scrolled ironwork. In the south wall are three windows in different styles; a 13th-century lancet window, a 14th-century two-light window, and a small window dating from the 12th century. The south porch is weatherboarded and it leads to a 12th-century doorway with a semicircular head and jambs in stone and Roman brick.
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The exterior is polychrome and was constructed from brick, terracotta and faience. The ground floor has a full- width tiled fascia continuing along to the neighbouring building; this 20th- century alteration may conceal earlier detail. The arcaded first floor has sash windows with sloping sills in the Gothic faience arcade, clasping rings and crocket capitals to the nookshafts, alternate block jambs, raised pointed arches and roll-moulded dripstring. The ogee window heads have fleur-de-lys finials in front of lozenge-patterned terracotta spandrels.
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The earliest work is in the chancel and nave, the latter having originally been without aisles. Together, they formed a low narrow building, measuring from east to west about , and about in width. The semi- round respond at the east end of the north nave arcade is similar to the jambs of the chancel arch, and possibly indicates the presence of a small transept or chapel. There was a bell turret at the west end of the nave, and a porch on the south side.
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The sill of this door- frame is also of gigantic dimensions and shows a vase in the center flanked by two lions statant. Each end is occupied by a niche containing a male and a female and flanked by a smaller and narrower niche on a recessed corner, containing a single human figure. It is a pity that the jambs of this enormous door-frame have not been discovered as yet. The large jamb in the public park appears to belong to a much later period.
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The Lockers in chancel north wall, with rebated jambs and trefoiled head, stone division or shelf, late 13th¬century. In south transept south wall, rectangular, with chamfered and rebated reveals, 14th-century. In chancel, on the south wall, there is a double piscinae. with two-centred arches the moulding continued to form an intersecting arcade, free shaft to each jamb and in middle, with moulded capitals and bases, shelves within the recess, at level of abaci of side-shafts, two multifoiled drains, mid-13th-century, reset.
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A brick chimney breast A chimney breast is a portion of a chimney which projects forward from a wall to accommodate a fireplace. Typically on the ground floor of a structure, the masonry extends upwards, containing a flue which carries smoke out of the building through a chimney stack. Chimney jambs similarly project from the wall, but they do so on either side of the fireplace and serve to support the chimney breast. The interior of a chimney breast is commonly filled with brickwork or concrete.
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There are the peacock figurines, which represent the sun, and the hare figurine, which represents the moon, depicted on the proper left and right sides of the door jambs. 158x158px It was believed that Burmese kings descended from Solar and Lunar dynasties. There are two Guardian Gods of the world (Lokanat) figures on each side of the door. By representing the Trāyastriṃśa ( the abode of gods), 33 figures of Nats (Devas) are installed at the U-gin, the door and door jamb of the throne.
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The roll mouldings of the arch are held in the beaks of these "fearsome", "wide- eyed horrors". Such "beakhead" decoration is a little-understood feature of Late Norman architecture: in churches, it may have been used to capture the congregation's interest or to inspire fear and awe. The moulding has two orders (recessed jambs which together form a chamfered opening): in contrast to the lavishly decorated outer order, the inner order is plain. Some Norman windows survive: these are large, round-arched and chamfered with deep splays.
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The castle was equipped with three main halls and several audience rooms with stucco walls and partially painted ceilings in Roccoco style. The façade was characterized by solid plasterwork, rectangular windows, simple stone jambs, rustication marking the corners, and a tarred, saddle-shaped roof. On the court side, the main wing was subdivided by two portals with Doric pilasters, topped by triangular pediments with figurative sculptures. The garden side had 22 window axis and was subdivided asymmetrically by two window bays framed with pilasters, but without pediments.
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At the top, a modern clock is placed below the eaves of the roof. The walls of the tower are mortared. Two staircases are connected to the tower, a spiral staircase with continuous windows with chamfered jambs on the south side, on the north side a renaissance rectangular staircase, which also covers the western frontage of the north aisle. On the ground floor of the tower there is a renaissance portal, which is semi-circularly arched and currently serves as the main entrance to the temple.
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The tower was transformed in the 14th century, when it changed the cover, which was subsequently replaced by the spire. The church has two entrances, both with jambs and lintels made of granite. The principal is a beautiful cover Baroque carved in the 18th century by Luis Salvador Carmona where is the image of St. Nicholas in a relief. The whole façade is inserted in this cover is made of brick with a layout and dimensions very different from the rest of the building.
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At its apex is a cross over rectangular base. The axial doorway with double lintel and cornice is surmounted by a guillotine window at the level of the high- choir. This window, also with double lintel and cornice, have prolong jambs and is decorated in scrolls over the doorway. Above the window cornice are two pinnacles, and a small rosetta framed by circumference To the left of the facade is located a rectangular bell tower, divided into levels by cornices that encircle the building.
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Coshogle Farm. Coshogle Castle once overlooked Enterkinfoot, held by the clan Douglas, it stood near Old Coshogle Farm however nothing now remains at the site although some features from it are incorporated into nearby cottages, namely a doorway with an arch and moulded jambs, and secondly a marriage stone with two coat of arms, the date 1576, initials RD and NI for Robert Douglas and his wife. Sections of the castle walls stood 6 foot high and 6 foot thick survived at least until 1825.
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In October £1 13s. 6d. is spent on "straw to thatch the chapel", and a load of clay is procured "to be dawbed upon the thatch", as a temporary roof, no doubt. One important item with regards to the design and style of the architecture was "[the] window james [jambs] from ye old Chapel" which appear in the records at this time. In March 1657, "The Little Cloyster begun to be diggd", and at digging a foundation for "ye little lobby" the workmen receive 5s.
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The overall creative style and design of the building blocks strongly reflects influences of the later Gupta era. There are huge door jambs with foliage of drooping petals, encircling creepers with animal and sculptural representations of female door keepers with coronets and huge perforated Patrakundalas. Other sculptural representation found are of Kirtimukha, Kalamakaras, Fangananm Shiva, Sridhar Rudra, Lakshi- Narayana, Hara Gauris Rashlila, Sarpadevata, Pranayam dhyan, Padma Sakra, Ram and Ravana, Sugriba etc. and panels with curvings of figures depicting episodes from the Ramayana, the Mahabharata and the Bhagavata Purana.
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The ruins of Building I were truncated in 1962 by the new tramway tracks but they are still visible. Building II A slightly trapezoid- shaped cellar (10.85 by 6.85 m) with doors opening in the eastern and the western sides, the latter leading to an underground corridor. The doors had slightly pointed arches; jambs, floor tiles and other architectural fragments indicated that this building also had an upper storey (or storeys). It was probably built in the first half of the 15th century, Garády assumed that it had a defensive function.
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The stones used to construct the monument are a hard local sandstone with a bluish tint. The cairn encloses an oval-shaped full court 15 by 10 meters with an entrance passage through the cairn on the east side. The entrance to the main chamber is located at the centre of an imposing megalithic facade on the west side of the court. The chamber is made up of two large compartments divided by a pair of jambs which presumably supported an inner lintel like those at Shawley and Croaghbeg in County Donegal.
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The pylon, a doorway feature with spreading jambs which support a lintel, also started to be used and became popular with architects. As a result of the Napoleonic conquest of Egypt in 1798, more accurate records became available to architects and Egyptian Revival became a recognised architectural style. As the 19th century progressed Egyptian features were, on occasions, used for industrial buildings and particularly for suspension bridges, and after 1830 the Egyptian Revival style was often used for cemetery buildings and monuments in cemeteries. Some examples of churches and synagogues exist in this style.
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Tall slabs, up to high, make up the jambs, which then support a pointed arch made up of ten voussoirs. The nave mostly retains its original appearance, except for the insertion of later windows in the Perpendicular Gothic style. The north wall was taken out in 1885 when the aisle was built; in its place a three-bay arcade was inserted, of which the easternmost bay reused 14th-century fabric. A piscina whose upper part is of ancient origin was placed in the south wall during the early 20th-century incumbency of Rev.
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The most famous architectural element of the church is its north portal (the Schottenportal), which occupies a full third of the north wall, and is richly decorated with both ornamental and figural sculptures. The proper interpretation of this sculptural program has been debated since the beginning of the 19th century.Strobel,Schottenkirche, p. 19. In the 1990s it was suggested that only the tympanum, archivolt, and jambs formed an original composition of the 12th century, while the remaining portions of the Schottenportal were assembled from spolia during the Renaissance.
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It remains only to describe the jambs, which are decorated with a striking array of ornament, and at top and bottom with a variety of kneeling figures. The identities of some of these figures may be ascertained through their attributes. For example, the foremost figure at the lower right holds a t-shaped staff, which accessory was commonly associated with hermits and monks. The central figure at the upper right plays a bowed instrument, while the innermost figure at the upper left holds a vessel on which animal pelts are draped.
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Built in the 1350s, Old Court contains some of Cambridge's oldest buildings, and retains many of its original features, such as sills and jambs used to hold oil-soaked linen in the days prior to the arrival of glass. The court is the oldest continually inhabited courtyard in the country (a claim disputed by Merton College, Oxford, which says the same of its Mob Quad). It is possibly built from the core of an even older building. Four sided, it typifies the model of construction of the colleges in Oxford or Cambridge.
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Traces of pigmentation found indicate that the plaster on the walls would have been tinted different colours. Many of the dwellings have a foyer which is considered by experts to be a sign of Mediterranean influence adapted to maintain the characteristics of indigenous construction. Many monolithic door jambs and lintels have been found decorated with intertwined geometric shapes and rope-like moulding. In addition, embedded in the walls, cylindrical monolithic blocks of small dimensions have been found decorated with geometric shapes such as spirals, triskelions, Celtic roses, or pinwheel designs.
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The door jambs are moulded, as are the tops of the columns. The arch is divided into segments, with a rose in the left spandrel and a thistle in the right spandrel. The use of the rose and thistle (national emblems of England and Scotland respectively) in this way dates the porch to the reign of King James I, who used these flowers, halved, as his badge after his accession to the English throne in 1603. Moulded brackets support the entablature, within which the pediment contains palms and cherub-heads in the tympanum.
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The Gothic portal (15th century) has a varied sculptural decoration, featuring images of Saint Peter and Saint Paul on the jambs, and of Christ seated between the Virgin, Saint John and Saint Blaise on the tympanum. The tower has an octagonal plan, and, like the church, is made in brickwork, part of which are decorated. The lower section is not visible from the exterior, as it is currently embedded within the church: it has an Arab- style frieze. The upper floors have Mudéjar-style decorations, mullioned windows and small arcades.
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It probably replaced one, perhaps of wood, set up under the reputed founder in the 7th century, one "Cronan" who may have been Saint Cronan of Roscrea, who died in 640, or Cronan Mochua, who died in 637. Early features include the "cyclopean" masonry, trabeate doorway (with inward sloping jambs) and the small window in the west wall. Some parts of an older construction, such as part of a doorway, may have been reused in the 12th-century construction. In the 12th century Temple Cronan was a site for pilgrimages.
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During the last week of June 1863, during the Civil War and just prior to the battle of Gettysburg, the property was used as part of a Union garrison –- a contingent of more than 1500 troops stationed at various locations around Mount Union. Its purpose was to guard the road, valley, and bridge to prevent the possible capture and destruction of the Pennsylvania railroad by Confederate troops. In the barn, where the garrison's horses were stabled, soldiers carved their names, initials, and dates in door jambs and barn beams. The carvings are still visible.
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There is a tradition that the manor house was visited by Queen Margaret of Anjou before the Battle of Tewkesbury in May 1471; since then her ghost has been said to haunt the great chamber where she slept. Apotropaic marks found in the house include witches' marks of incised overlapping circles in the form of 'daisy wheels', dating to about 1616, on the windowsill of an attic room and taper burn marks on the jambs of a medieval doorframe on the first floor; and concealed shoes were found by a fireplace in 1926.
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Inside the church, the jambs and arch are visible, but there is no lintel. The wall of the chancel retains a trefoil- arched piscina added during the 14th-century restoration work. The font—a "rather florid circular" example—dates from 1864, and the church possesses Eucharistic objects dating from the 16th and 17th centuries, such as a chalice of 1568 and a paten dating from 1666. The west wall has a wide range of old carved prayer and commandment boards, which are a common feature of Sussex churches.
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Pediment above the loading dock At ground level, the facade contains display windows with storefronts; the large display windows are two bays wide, while the small display windows are one bay wide. The Lexington Avenue elevation has four large display windows, two on either side of the main entrance. The 51st Street elevation has four large and two small display windows, a two-bay-wide loading dock, and a one-bay-wide freight entrance. The display windows and loading dock are surrounded with a red marble frame containing reeded jambs.
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This buttress is constructed of a different variety of stone to the main tower, which may suggest it was added later. At present there is a series of steps cut into the buttress in the late 19th century, winding around the buttress leading up to the base of the east facing doorway. Granite stones were used for the jambs, sill and lintel of the doorway. The most unusual feature of this tower is the very pronounced buttress at the base which is constructed with a different type of stone to the tower.
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Without door valves, the three large arches were decorated with angels and foliage and framed the ciborium and altar at the end of the nave. Prophets and apostles form the columns and jambs welcoming pilgrims inside the church. Mestre Mateo inside the church on the opposite side of St. James Though the portal was originally poly-chromed, the numerous traces of the remaining paint seen today are due to later interventions. Records show that the portico was repainted often with contracts surviving from the fifteenth and seventeenth centuries.
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The bays on either side of the entrance bay consist of pairs of pilasters on a banded base that appear to support the pediment. Between each set of pilasters are two narrow rectangular windows separated by a half or engaged column. A small square window centred in the base of each bay has unusual moulded surrounds including jambs terminated by a stylised volute and a coved cornice with a leaf pattern. Other facade details include rosettes, dogtooth banding, acanthus leaf capitals to pilasters and arabesque ornamentation on the pediment.
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Along the way he is reading a new translation of Las Soledades of Luis de Góngora. The bus stops in the Faraway Hills, where Pierce meets Spofford, a previous student of his. Impulsively, Pierce decides to forget the interview and leave with Spofford for the town of Blackberry Jambs nearby. While there, Pierce comes to conceive of a novel combining his vast knowledge of history along with speculations about Hermetic philosophy, his interest in Giordano Bruno, as well as local author's Fellowes Kraft's unfinished series of novels involving Bruno and John Dee.
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Tomb KV8, located in the Valley of the Kings, was used for the burial of Pharaoh Merenptah of Ancient Egypt's Nineteenth Dynasty. The burial chamber, located at the end of 160 metres of corridor, originally held a set of four nested sarcophagi. The outer one of these was so voluminous that parts of the corridor had to have their doorjambs demolished and rebuilt to allow it to be brought in. These jambs were then rebuilt with the help of inscribed sandstone blocks which were then fixed into their place with dovetail cramps.
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The original church was a high, narrow rectangular structure. Today's west wall may be a remaining feature of this; its early date is shown by the proportions of the tall, narrow doorway, still centrally placed, with a very roughly constructed arch above two irregular jambs. Such a high, narrow door played an important part in the services of the early church. Above this doorway, high in the west wall, is another doorway, now blocked, which once gave access from the tower to a chamber above the nave, possibly a dormitory or chapel.
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Lighthouse-keepers' housing at Hynish, Tiree Cromarty Lighthouse In Scotland 10 lighthouses were built for the Northern Lighthouse in the 1830s and 1840s by Robert Stevenson and his son Alan. At Hynish on Tiree in the Inner Hebrides, a barrack block was built for the lighthouse keepers which have massive pylon shaped doorways. These Keepers' cottages were to service the Skerryvore lighthouse on a remote reef that lies off the west coast of Scotland, 12 miles (19 kilometres) south-west of the island of Tiree. At lighthouses such as Cromarty, Alan Stevenson designed a massive entrance doorway with battered jambs.
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The roof of the church is supported by a barrel vault, but while the vault of the nave and the aisles retains its original stone structure, the western sections of the building are vaulted in brick from the earlier springing points of the ashlar masonry. The arches used are of the horseshoe type (greater than half a circle) of Visigothic architecture. The two arches perpendicular to the axis of the nave spring from impost blocks supported on columns attached to the piers. The arch opening onto the apse is a tighter horseshoe shape resting on two columns in the jambs of the opening.
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Less elaborate than the Saxon entrance at nearby St Mary Magdalene's Church, Bolney, it is round-arched with narrow voussoirs and has jambs made of five large, roughly cut stones on each side (inside) and six more cleanly hewn and regular stones (outside). The entrance is high and wide. The voussoirs are each about wide, and there are nine inside and seven outside. In the crossing, the round-headed east- and south-facing arches, each high to the imposts, high to the top of the arch and wide, are from the original Norman building and are supported on four square piers each thick.
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The crown of the west entrance has been lowered to admit of the insertion of a large 'churchwarden' window and the external jambs have been replaced with plain cut stone. 250px It is probable that the Dillingtons were responsible for the churchwarden creations in the north transept, and the west wall, and the final remodelling of the tower. There are two small chapels succeeding the two transepts. Over the gable of the south transeptal chapel, a "singular SAINTS or SANCTE BELL turret" has been erected (the bell was first struck when the image of the Saint was deified).
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The frescoes in the vault form a set of characters and gods of classical mythology: Minerva, Ceres, Jupiter, Mercury etc. The vault rests on four pechinas in stucco subject by Atlanteans and decorated by Luis Domingo with the four parts of the known world represented by its allegorical animals: America with a caiman, Africa with a lion, Asia with an elephant and Europe with a horse. Ramón Ximénez Cros (1862-1867) balustered the balconies, decorated with rockeries the jambs and lintels of doors and windows. Add figures of cherubs, cornucopias, masks, pilasters, classical busts and pediments both inside and outside.
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Only north of the village, reached by the road at the east end of the churchyard, is Brewerstreet Farm and the old Rectory, parts of which date from the end of the 17th century. The house is a two-storey, partly slate-roofed structure that underwent a complete transformation about the middle of the 18th century. In one of the upper rooms is a stone fireplace with a moulded four-centred head and jambs. Grade II listed, the house has three diagonal 17th century chimney stacks to the old left section at the point where it meets the new.
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The inside of the Rachigudi temple is a square layout, set on square base pillars with rounded moulded shaft supporting the roof and a moulded inverted kalasha pot-like shape at its top. The portico of the temple is square (17'x17'), is of kakasanas style with eight squat pillars, again with square base, followed by an exploration of octagonal form. The Rachigudi has some intricately carved artwork inside, such as of Gajalakshmi on the lintel. The door jambs explore floral and geometric designs, as do the small perforated windows in the sabha mandapa integrated to bring light into the temple.
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Ten figures of prophets are set in the doorposts and jambs; the four symbols of the Evangelists and the Hand of God are set above in the barrel vault of the first story of the porch. Set into the walls on either side of the portal are figures of Roland and Oliver, who as holy warriors, remind one of the constant need to provide protection to the church. The Gothic windows in the facade provide evidence of the renovation that took place in the 14th century. The Baroque addition at the upper part of the facade is part of 17th-century additions.
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On the lintel of the entrance Raweben and his wife and children are shown on one side before Osiris, Isis, Horus, Hathor and Ptah. On the other side of the lintel Raweben's father Piay, his brother Ipuy, his mother Nofretkau and others are shown worshipping Re-Harakhti, Ptah-Sokar, Hathor, and Amenhotep I and his mother Queen Ahmose Nefertari. On the entrance there are balancing scenes on the outer jambs. On one side Raweben and his family are mentioned in a hetep di nesu offering, while his brother Ipuy and his family are mentioned on the other side.
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The later form of the cartouches is found on the door jambs indicating that the tomb was inscribed after year 9 of Akhenaten. The shorter version of the Great Hymn to the Aten appears in the entrance way. The hymn is followed by the name and titles of Any. He is said to be : The intimate of the King, whom the lord loves, the favorite whom the Lord of the Two Lands created by his bounty, who has reached the blessed reward by the favor of the King, the acting scribe of the King, beloved by him.
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The precast concrete parts were made in Walter Taylor's workshop, moved to the site and "placed in position like masonry. They were laced together with steel and concrete providing a building of extra-ordinary strength, without in any way detracting from the gracefulness of design". After the buttresses were erected, walls, panels and window jambs at the top and filled in with concrete slabs, formed a broken surface, "with a very pleasing effect". A parapet with a counterfoil design was mounted on top of the walls between the buttresses, and was broken by a pointed turret over each buttress.
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"Hie est sepultus frater Heinricus de Ruchenstein", buried as a member of the ministerially of the House of Rapperswil around 1300 AD, ledger stone made of Bollingen sandstone. On the north side of the choir building, above the vault shell, the 14th century entrance door to the roof of the Gothic era choir was rediscovered in 1941. The older Romanesque period grave plate was in use as the lintel of the door opening, with its inscribed side facing down. The door jambs and the lintel (repurposed grave plate) were installed with other masonry work during the 14th century construction of the choir building.
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The entrance porch features a radiating arch with deep angled brick jambs, rounded window openings and a boarded ceiling. The belfry atop the octagonal bell tower is enclosed with fixed timber louvres between brick piers of alternating, three-course bands of rendered and face brickwork capped by a concrete hemispherical cupola. The interior is well detailed and executed with dark stained timber joinery throughout, except for the contrasting honey-coloured boards that line the raked ceiling. Finely detailed trusses, supported on concrete corbels, incorporate semi-circular laminated arches of three vertical layers, bolted and strapped together at intervals.
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In an introductory chapter (chronologically taking place mid-way through the novel's plot), Pierce Moffett takes a bus ride from the Blackberry Jambs to New York City, reflecting on his relationship with Rose Ryder. While Pierce left his Catholic faith in adolescence, Rose is ardently pursuing her faith in the Powerhouse Christian sect. In the Renaissance, John Dee and Edward Kelley again contact the angel, Madimi, who in previous volumes, first commanded their wandering. The treatments he prepared to grant the Emperor fertility have also failed, and the court grown paranoid, hiring spies who may be watching Dee.
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It has two storeys and attic, 6 wide bays; 2-bay piended > projecting wing to front (west) elevation with porch in left re-entrant, a > single-storey addition with 5 long multi-pane windows in right re-entrant > and bow window to centre of wing; it has crenellated parapets, 5 piended > dormers with decoratively carved wood jambs; 2 stair windows to rear; > 12-pane and lying pane glazing; end and ridge stacks; slate roof. Interior: > projecting front wing (circa 1780) contains dining room at ground floor and > drawing room above. Original ornate plaster ceiling in drawing room.
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At the end of the 4th-century the pagan cults were forbidden by the emperors' edicts. The temple of Artemis was entirely spoliated of the marble cladding of the cella and the corniche of the gate was dismantled and replaced by plain jambs. The cella was paved with a polychrome mosaic floor and converted into a public reception hall. In the 6th-century the roof of the cella collapsed and the whole building was further transformed into a private residential stronghold in the middle of a wide artisanal quarter that occupied the upper terrace of the sanctuary.
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The west window of three lights is also of the 14th century, with a two-centred rear arch, but the tracery has been much restored in cement, as have the belfry windows also. Outside the church in the wall of the north aisle is a 14th-century recess with an ogee arch, of which the jambs are restored. Set in the recess is a 14th-century coffin lid with a cross in relief. Also outside in the wall of the south aisle are two recesses, probably of the 15th century, of which the stonework has been renewed.
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The church consists of two juxtapositioned rectangular spaces, comprising a single nave and presbytery, with sacristy abutting, storage spaces, lateral courts and corridor. The horizontal articulated volumes and differently covered with tile. The frontispiece, which faces the south, consists of corner pilasters crowned by a triangular pediment, with a tympanum marked by elliptic oculus. The portico is framed by Manueline decoration, with double arched doors with niche, framed by relief pilasters, ornamentally decorated, with the sculptures of the Anjo da Anunciação (Angel of the Annuciation) and Virgem (Mary) in niche, united by Roman arch and flourishes in the jambs.
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The Mosaics of Monreale Cathedral form the building's main internal feature and cover 6,500 m2. They are made of glass tesserae and were executed in Byzantine style between the late 12th and the mid-13th centuries by both local and Venetians masters. With the exception of a high dado, made of marble slabs with bands of mosaic between them, the whole interior surface of the walls, including soffits and jambs of all the arches, is covered with minute mosaic- pictures in bright colors on a gold ground. The mosaic pictures, depicting stories from both the Old and New Testament, are arranged in tiers, divided by horizontal and vertical bands.
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He was helped in the task by the two best Marquesan carpenters on the island, one of them called Tioka, tattooed from head to toe in the traditional Marquesan way (a tradition suppressed by the missionaries). Tioka was a deacon in Vernier's congregation and became Gauguin's neighbour after the cyclone when Gauguin gifted him a corner of his plot. The ground floor was open-air and used for dining and living, while the top floor was used for sleeping and as his studio. The door to the top floor was decorated with a polychrome wood-carved lintel and jambs that still survive in museums.
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Along with a domus in the city, many of the richest families of ancient Rome also owned a separate country house known as a villa. Many chose to live primarily, or even exclusively, in their villas; these homes were generally much grander in scale and on larger acres of land due to more space outside the walled and fortified city. The elite classes of Roman society constructed their residences with elaborate marble decorations, inlaid marble paneling, door jambs and columns as well as expensive paintings and frescoes. Many poor and lower-middle-class Romans lived in crowded, dirty and mostly rundown rental apartments, known as insulae.
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In the North chapel can be found three remodelled pews with an additional pew end incorporated into modern seating. In the South chapel can be found two blocks of seating, each of four pews, similar to the seating in the North chapel but with original panelled fronts to the first pews. Nearby at the East end of the South aisle, is a third panelled front incorporated into modern seating. With the exception of the first these seats are late mediaeval. The Sanctuary with the high altar The sedilia in the chancel is believed to Bec 19th-century apart from the 15th-century moulded jambs.
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The entrance tower contains a series of windows with decorated jambs that extend from the front door to the most decorated dormer at Biltmore on the fourth floor. The carved decorations include trefoils, flowing tracery, rosettes, gargoyles, and at prominent lookouts, grotesques. The staircase is one of the more prominent features of the east facade, with its three-story, highly decorated winding balustrade with carved statues of St. Louis and Joan of Arc by the Austrian-born architectural sculptor Karl Bitter. The south facade is the house's smallest and is dominated by three large dormers on the east side and a polygonal turret on the west side.
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The architectural historian John Newman draws comparisons with Newcastle at Bridgend and Coity Castle. To the sides of this gateway are a domestic range and the Brewhouse, the last major additions made by the Stradlings. The inner wall mostly survives and has a small original tower to the north, and a square gatehouse on the east beside the rectangular Mansell Tower, an enlargement of the original keep. In an article in The Archaeological Journal, C. P. Spurgeon notes the design similarities between the tower's door jambs and those in the chancel of St Donat's church, indicating an earlier construction date than that of the work undertaken by Peter de Stradling.
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The appearance of the door is not clear from the photograph from the beginning of the 20th century, but the width allows for the assumption that it might have been a two-way door. The other photo shows a one-sided door that supports on very wide tender-posts and probably opened on the inside. The act of inventory from 1974 puts the measurements of the window as 50 x 70 cm. It is also noted that the window has been nailed up with boards, there has not been a window at all during the last couple of years, all is left are jambs (Kupp 1974).
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The church is constructed from ashlar limestone with red-brick quoins on the buttresses and window edges. The steeply pitched roof is constructed from timber originally with jarrah shingles but most recently with terra cotta tiles. When originally built the church consisted of a nave and an aisle on the north western side; the vestry is at the north-eastern end of the aisle with a connecting tower and porch at the south-western end facing Norfolk Street, which acts as the main entrance. The building style is rustic gothic, composed of stone in irregular coursed work, with red brick moulded windows and door jambs.
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The temple proper might be seen as divided in to three distinct parts: central, north, and south. The central part is indicated by a small rectangular anteroom (6.5 by 3.5 m), many of the door jambs including those of the antechamber include inscriptions, such as 'given life like Ra forever'. A 12.5 by 14.5 m hall follows the anteroom from which is entered via a 3.5 m wide door in the center of the front wall of the hall. There is evidence the ceiling of this chamber was decorated with yellow stars on blue background, whereas the walls today show only the appearance of a white stucco over mud plaster.
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Norbert Nussbaum pointed out to details of the shaft work, which passes through the windows jambs and the compound piers. It shows knowledge of the forms, which were used in the lodge at the Cathedral of St. Stephan in Vienna, when there was a master Lorenz Spenning. Petr Kroupa, who made research about the history of this church's construction, came to the conclusion that the presbytery was finished in 1473 and there are some similarities with the presbytery at the Church of the Holy Spirit in Heidelberg, where the same vaulting is used in the hall choir gallery. The vault belongs to the area of Swabia net vaults.
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A later modification yielded the gate's present form, in which a floor has been added to the whole structure, towers included. Due to the absence of the usual plate commemorating the works, some archaeologists doubt that the work has not been carried out by Honorius, who left panegyric epigraphs on any other restored part of the walls or the gates. The latch was released by means of two wooden gates and a shutter that rolled, through still visible grooves, from the control room placed above, whose supporting travertine shelves are still existing. Some notches on the jambs could indicate that wooden beams were also employed to strengthen the latch.
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The latter have hollow-fluted capitals and spurred bases, while the capitals of the outer order are carved with plain foliage. The nave has two windows on the north and one on the south, and is fitted with a west gallery. The north transept has modern two-light windows on east and west, and opens to the nave by a modern arch of 12th century style, but the jambs of the arch are of old stonework, perhaps of 14th century date. The south transept opens to the nave by a tall arch with an imitation of 12th century detail, and is of modern date.
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This window was surrounded by quarter-round moulding of radius and the edges of the loopholes are neatly rounded. The west end of the building has marked resemblance in plan to the east end of Haughton Castle. At its north corner there is a turret 9' 7" by I3' 10" (2.92 by 4.22 m) internally with walls thick, having an external base course which butts irregularly against the double chamfered base of the main building. At the south corner, a narrow door with chamfered jambs and sill gives entrance to what must have been either a mural stair or a small turret; this formed a weak point both structurally and strategically and was twice strengthened and reconstructed.
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Inside, the four crossing arches with their jambs survive, although the east and west arches have been rebuilt in pointed 14th-century form; the south and north arches have been slightly deformed to elliptical shape due to the pressure of the masonry, perhaps by the addition of the top stage of the tower at some later date. There are eight bells in the tower, three of 1736 by Thomas Bilbie, two by A. and C. Mears of 1846, and the rest recast in the 20th century. Further restoration of the Chancel took place in 1908 when Sir Walter Tapper included plaster medallions high on the sanctuary walls. The glass in the east window is by Bainbridge Reynolds.
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Many of these figures come from the Romanesque façade of the north or do Paraíso (current façade of the Acibecharía) and were placed on this façade in the 18th century. In the tympanum of the right door there are several scenes from the Passion of Christ and the Adoration of the Magi. In one of the jambs is the inscription commemorating the laying of the stone: ERA / IC / XVI / V IDUS / JULLII Registration follows the Roman calendar, according to the computation of the Spanish era, corresponding to July 11, 1078. An image, unidentified, of a fox eating a rabbit and, against this, a badly dressed woman with an animal in her lap.
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The long side measures 42 ft (13 m) and the shorter gable ends of the building measure 32 ft (10 m). The building's entrance is found on its south elevation and consists of dual doors which bisect the walls at the jambs. The Friends meeting house in Benjaminville is a typical example of traditional Quaker meeting houses. Elements common to Quaker meeting houses east of the Allegheny Mountains and found on the Benjaminville example are: plain, undecorated interiors, lack of stained glass, rectangular shaped log or frame construction, some type of partition within the interior space, an attached burial ground, exterior simplicity, separate men's and women's entrances, and the entryway location along the long wall.
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Colegio Grande portal San Ildefonso Street, colonial facade Although it no longer provides access inside the complex, the large facade that runs along almost the entire length of San Ildefonso Street is the original, with a wide pedestrian zone between it and the street. The facade is a long wall which is covered in tezontle, a blood-red porous volcanic stone, with windows and doors arranged unevenly and pilasters dividing the façade horizontally. These windows and doors are framed with jambs and lintels in cantera, a grayish-white stone. Vertical pilasters made of chiluca, another kind of white stone, divide the facade, which has two levels with the lower one being larger.
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The wings contain ten stories, are pierced by round loop-holes for the admission of light, and probably served as chambers or dormitories for the priests and servitors of the temple. From the jambs of the door project two blocks of stone, which were intended, as Ddnon supposes, to support the heads of two colossal figures. This propylaeon leads into a large square, surrounded by a colonnade roofed with squared granite, and on the opposite side is a pronaos or portico, in height, and having a triple row of columns, six in each row, with variously and gracefully foliaged capitals. The temple is wide, and long from the entrance to the opposite end.
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They rise higher than the verandah roof and support the magnificent and lofty dome which is one of the largest domes in India. Surrounding the main dome are eight pillared cupolas on the corners of the octagon of the chamber walls. The interior of the tomb is sufficiently well ventilated and lighted through large windows on the top portion of the walls fitted with stone jalis in varying patterns. The jambs and spandrils of the arch of the mihrab on the western wall were once profusely adorned with verses from the Quran and inscriptions, with glazed tiles of various colours arranged in geometrical patterns and with floral carvings in stone enclosed in enamel borders.
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The structure comprises two structurally separate buildings in its street front. The eastern half consisted of a three-storied, two-bay range jettied towards the street, with a contemporary hall wing to the north, the whole appearance of the later 15th century. The range to the street had a single large room on the ground and the first floor. The ground-floor room has exposed ceiling joists and was once lit by a range of two-light windows; it connects by a four-centred arched doorway with a wide side- passage, of which the original street doorway, with carved spandrels, moulded jambs, and brackets, is a larger version of similarly placed doorways in other houses of the town.
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The marks are most common near places where witches were thought to be able to enter, whether doors, windows or chimneys. For example, during works at Knole, near Sevenoaks in Kent, in 1609, oak beams beneath floors, particularly near fireplaces, were scorched and carved with scratched witch marks to prevent witches and demons from coming down the chimney. At the Bradford-on-Avon Tithe Barn, a flower-like pattern of overlapping circles is incised into a stone in the wall. Similar marks of overlapping circles have been found on a window sill dated about 1616 at Owlpen Manor in Gloucestershire, as well as taper burn marks on the jambs of a medieval door frame.
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Nowadays, it conserves its western half from that period, together with several elements in the rest of the church such as the fantastic jambs in the vestibule or the extraordinary lattice on the window of the southern wall, sculpted from one single piece of stone. The last of the churches from this period is Santa Cristina de Lena, located in the Lena district, about 25 km south of Oviedo, on an old Roman road that joined the lands of the plateau with Asturias. The church has a different ground plan to Pre-Romanesque´s traditional basilica. It is a single rectangular space with a barrel vault, with four adjoining structures located in the centre of each facade.
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Alongside of the west tower there are remains of a walled-in postern, placed above the ground level, whose peculiarity is the absence of traces of wear on the jambs, just as if it was locked soon after it was built. As regards the interior, the most relevant changes are recent and date back to 1942-1943, when the whole structure was occupied and used by Ettore Muti, then the Secretary of the Fascist Party. The white-and-black bicromatic mosaics, still visible in some rooms, were realized in those years. Currently the towers house the Museum of the Walls, that exhibits, among other things, models of the walls and the gates during different phases of their building.
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On 16 July 2001, Knight walked into the East Melbourne Fertility Clinic, a private abortion provider, carrying a rifle and other weapons, including of kerosene, three lighters, torches, 30 gags, and a handwritten note that read "We regret to advise that as a result of a fatal accident involving some members of staff, we have been forced to cancel all appointments today". Knight later stated that he intended to massacre everyone in the clinic, and attack all Melbourne abortion clinics. He developed homemade mouth gags and door jambs to restrain all patients and staff inside a clinic while he doused them with the kerosene. He shot 44-year-old Stephen Gordon Rogers, a security guard, in the chest, killing him.
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On 16 July 2001, Peter James Knight walked into the East Melbourne Fertility Clinic, a private abortion provider, carrying a rifle and other weapons including 16 litres of kerosene, three lighters, torches, 30 gags, and a handwritten note that read "We regret to advise that as a result of a fatal accident involving some members of staff, we have been forced to cancel all appointments today". Knight later stated that he intended to massacre everyone in the clinic, and attack all Melbourne abortion clinics. He developed home made mouth gags and door jambs to restrain all patients and staff inside a clinic while he doused them with the kerosene. He shot 44-year- old Stephen Gordon Rogers, a security guard, in the chest, killing him.
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Elizabeth de Eglintoun, as sole heiress, married John Montgomerie of Eaglesham, to whom the estates and possessions passed, including the barony of Ardrossan. Masons marks, door jambs, face carving, etc. at Seagate Castle Seagate Castle, probably the third castle in Irvine's historical timeline, is not a typical town lodging, having some of the characteristics of a castle or fortalice, built as a showpiece between 1562–85,Close, Page 56 in style more a palace, place, or mansion house. Montgomerie Coat of Arms of the late seventeenth century The castle is thought by some to incorporate the remnants of the strong twelfth-century castle of 'Irewin', described as being a stronghold of some strength in 1184, however, this has not been verified.
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The second unusual thing about the truss is the upper collar, noted above as jointed and pegged to the principal rafter pair of the truss and repeated between the common rafter pairs within the remainder of the Phase 1 roof to carry a suspended plaster ceiling. Within the partition truss the combed daub panels are restricted to the areas below this upper collar as the apex would have been concealed by the ceiling. The doorway defined the queen studs has been in-filled due to changing floor levels but the head-beam remains in place together with the chamfer and stop detail to the jambs/posts. The eastern face of the partition truss has been re-finished concealing or removing the original details.
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This church was originally located outside the city walls, facing the main city gate (porta Burgi) and an area that was used as the main market ground. It was common at the time for monastic complexes to be located outside of the city boundaries, in order to maintain greater independence from the local bishops. The Capitoni family was the main patron during construction of the church, their coat of arms is shown prominently in the capitals of the entrance door jambs. Construction of the church probably starts in the second half of the 13th century, in a Romanesque style, and is not completed until the beginning of the 14th century, when it takes the form of a simple Franciscan-Gothic style church.
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A false door usually is carved from a single block of stone or plank of wood, and it was not meant to function as a normal door. Located in the center of the door is a flat panel, or niche, around which several pairs of door jambs are arranged—some convey the illusion of depth and a series of frames, a foyer, or a passageway. A semi-cylindrical drum, carved directly above the central panel, was used in imitation of the reed-mat that was used to close real doors. The door is framed with a series of moldings and lintels as well, and an offering scene depicting the deceased in front of a table of offerings usually is carved above the center of the door.
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The chapel has a paved courtyard in front of it, and is entered through a large pink granite gate – its southern jamb measured wide by tall – which bear Khentkaus I's name and titles. Although both jambs were severely damaged by stone thieves, their inscription has been preserved, along with an image of the queen wearing a wig, robe and Vulture crown, seated on a chair, with her right hand placed on her thigh, and her left resting on her chest. The entrance, recessed deep into the superstructure bedrock, led into the chapel, by , paved and lined with fine white Tura limestone. To the west was a three niched statuary room, lined with fine white limestone and decorated with bas-relief scenes and inscriptions.
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It is a brick edifice, fifty feet in > front, and three stories high, built with Holland bricks relieved by brown > stone watertables, lentils and jambs, with walls as substantial as many > modern churches, standing along the south side of Pearl-street, formerly > called Queen Street. The superb staircase in its ample hall, with mahogany > handrails and bannisters, by age as dark as ebony, would not disgrace a > nobleman's palace. It is the only relic of the kind, that probably at this > period remains in the city, the appearance of which affords an air of > grandeur not to be seen in the lighter staircases of modern buildings. > > This venerable mansion is one of the very few remaining in uninterrupted > succession in the family of the original proprietor.
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250, 2013 reprint, Courier Corporation, , "The framing of a door or window by a head composed of a triple keystone and by jambs that are bordered by protruding blocks of stone", with that of the Illustrated Dictionary of Building, by Peter Brett: "A door surround in the style of the architect James Gibb. It consists of large blocks of stone interrupting the architrave." Some definitions extend to including arches or square openings merely with alternate blocked elements that continue round the top in the same manner as the sides, as in the rectangular windows of the White House's north front basement level.Chitham, 126, who uses this wide definition Though intended for masonry in stone, the motif can be executed in other materials, especially brick, often masked in stucco, wood, or just paint.
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Arlington House Parisian chimneypiece, circa 1775-1785, Carrara marble with gilt bronze, height: 111.4 cm, width: 169.5 cm, depth: 41.9 cm, Metropolitan Museum of Art (New York City) The fireplace mantel or mantelpiece, also known as a chimneypiece, originated in medieval times as a hood that projected over a fire grate to catch the smoke. The term has evolved to include the decorative framework around the fireplace, and can include elaborate designs extending to the ceiling. Mantelpiece is now the general term for the jambs, mantel shelf, and external accessories of a fireplace. For many centuries, the chimneypiece was the most ornamental and most artistic feature of a room, but as fireplaces have become smaller, and modern methods of heating have been introduced, its artistic as well as its practical significance has lessened.
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The walls were reinforced with wooden fittings (beams of square cross section, from 15×15 centimeters to 18×18 centimeters) which were located inside the structure of the wall mass – two parallel beams were placed in horizontal lines at the distance between them were 0.7 to 0.8 meters vertically. On the outside part of walls occurs only below the roof cornice and they cutting at the same level both gable ends. From the inside part of the wall, outer beam, covered only with a layer of fresco plaster was noticed only at the base of the vault. In the west wall, was modeled modest entrance with stone sill and shallow jambs that were not specifically handled or curved but them coming out from the wall mass stubble on that side of the wall.
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In the side jambs are carved six figures, after the rest of the portal, four of which represent Moses, Aaron, Saint Peter and Paul the Apostle; the other two are not easily identifiable. Although the portal concentrates all the interest, it can not be ignored the rest of the gable, escorting robust buttresses topped with pinnacles. It's later work, of the late-13th century. Its two upper sections, structured along the lines of the central body of the facade of Saint Mary, are occupied by a rosette and on it a set of open gallery with three arches with soffits openwork with triple quatrefoil and supported by mullions against the looming one statuary interpreted as the Divine Liturgy, which Christ administers the Eucharist flanked by twelve angels cerifers and thurifers.
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The doorway, whose door has decorative strap hinges, has three layers of carvings in its semicircular arch; they are in the form of chevrons, stars and grapes. The chevrons form a zigzag pattern and reach the jambs and capitals; the outside face has the grape-like motifs in the angles where these meet, and the labels (horizontal elements) have the repeating star pattern. Nikolaus Pevsner describes the carvings as "keeping inside the established pattern" of such work, and not displaying the "extraordinary ... [simultaneously] mannered and extrovert" details of the carved doorway at St Mary's Church at nearby Climping. Inside, the carvings around the chancel arch—dating from about 1140, like the doorway—consist of "an amazing congregation of grotesque monsters", "boggle-eyed ... with beaks, tongues and squid-like tentacles, that frown and glare at visitors below".
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A stela of the king found at Karnak reports donations to the Amun-Ra temple.Wolfgang Helck: Eine Stele Sebekhoteps IV. aus Karnak, in MDAIK 24 (1969), 194-200 A pair of door jambs with the name of the king was found at Karnak, attesting some building work. There is also a restoration inscription on a statue of king Mentuhotep II, also coming from Karnak. From Abydos are known several inscribed blocks attesting some building activities at the local templeRyholt: The Political Situation in Egypt during the Second Intermediate Period, c.1800-1550 BC, Carsten Niebuhr Institute Publications, vol. 20. Copenhagen: Museum Tusculanum Press, 1997, 349 The vizier Neferkare Iymeru reports on one of his statues found at Karnak (Paris, Louvre A 125) that he built a canal and a house of millions of years for the king.
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The partition truss between the two main original garret rooms was specifically designed to include a doorway between the rooms indicating that the design of the house was created to include quality garret accommodation from the outset. The partition truss comprises a pair of principal posts that are not linked in the standard way at wall plate level by a continuous tie-beam, rather the tie-beam is interrupted by a pair of vertically set studs (queen studs) into which the stub tie-beams are jointed and pegged. The studs form the jambs of the doorway between the rooms and are jointed at the base into an upper cross-beam that provided support for the original garret floor (and by extension, the ceiling of the chamber below). At the top, the studs are jointed into the collar that links, in the usual manner, the principal rafter pair.
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The Sótanos del Cardenal Cisneros are basements and a Moorish house located in Toledo, Castile-La Mancha, Spain. This space houses the archaeological vestiges of a primitive Islamic house from the Caliphate period, of which there remain a courtyard and a hall, as well as the remains of the architectural decoration of the same, consisting of two horseshoe arches, one of them twinned. This primitive house is built on the natural geological terrain, which in this area presents a sharp slope in a southerly direction, being filled with debris and remains belonging to earlier phases of Roman and Visigothic times, some of whose construction materials were reused in the new Islamic construction. It would highlight the finding of the figurative parietal decoration documented in the twin arch, in whose jambs two hands of hamsa were arranged, one of which is surrounded by three birds of a stylized figure.
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Designed by Jean Omer Marchand and John A. Pearson, the tower is a campanile whose height reaches 92.2 m (302 ft 6 in), over which are arranged a multitude of stone carvings, including approximately 370 gargoyles, grotesques, and friezes, keeping with the Victorian High Gothic style of the rest of the parliamentary complex. The walls are of Nepean sandstone and the roof is of reinforced concrete covered with copper. One of four grotesques at the corners of the Peace Tower At its base is a porte-cochère within four equilateral pointed arches, the north of which frames the main entrance of the Centre Block, and the jambs of the south adorned by the supporters of the Royal Arms of Canada. Near the apex, just below the steeply pitched roof, are the tower's 4.8 m (16 ft) diameter clock faces, one on each of the four facades.
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It opens to a gallery of columns of torso stem that rest on shoes with anthropomorphic reliefs at their ends. To support this viewpoint and the rest of the new dependencies it was necessary to section the high areas of the Taifal halls of the 11th century and to have before the north portico five powerful octagonal pillars that, next to some archways pointed behind them, form a new antepartum that unites The two Al-Andalusian perpendicular pavilions above. It emphasizes the main entrance to the Throne Room: a trilobed recessed arch with a five-lobed tympanum, at the center of which is represented the coat of arms of the monarchy of the Catholic Monarchs, which includes the coats of arms of the kingdoms of Castile, León, Aragon, Sicily and Granada, supported by two lieutenant lions. The rest of the decorative field is finished with a delicate vegetal ornamentation of stamped invoice, which reappears in the capitals of the jambs.
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The necropolis of Sant'Andrea Priu is an archaeological site located on the south side of the fertile plain of Saint Lucia, in the municipality of Bonorva, Sardinia. The complex, one of the most important of the island, is composed of twenty domus de janas; one of them with its eighteen rooms appears to be one of the largest hypogean tombs of the Mediterranean basin. The necropolis is located on the front of a trachytic outcrop high 10 m and long 180; entrances to the domus are all within a few meters in height from the ground level and some of them are difficult to access because of the detachment of a substantial part of the rock face. The interior of the domus de janas is a faithful reproduction of the houses of that time, with many architectural details (beams, joists, lintels, jambs, pillars and wainscoting perimeter), tending to recreate an environment similar to that where the deceased had spent his existence.
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The shrine door is elaborately carved with two rows of figures on the frieze, Ganpati on the lintel, and the jambs richly ornamented- The area behind the central jamb is roofed with large slabs, carved with sixteen figures linked in one other's arms in a circle, the leg's crossed and turned towards the centre. Each holds a rod in either hand, the left hand being bent down and the right up, and so interlaced with the arms of the figures on either side. The roofs of the three aisles, at the side and in front of the central area, are very prettily carved with flowered ribs, and three horizontal bands inclusive of that from which they spring. In two neat niches advanced from the front wall of the shrine, and with two colonnettes in front of each there have beon standing images in alto-relievo neatly canopied by a lotus flower with buds growing over the head dresses.
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In Early Modern times, the practice of integrating caryatids into building facades was revived, and in interiors they began to be employed in fireplaces, which had not been a feature of buildings in Antiquity and offered no precedents. Early interior examples are the figures of Heracles and Iole carved on the jambs of a monumental fireplace in the Sala della Jole of the Doge's Palace, Venice, about 1450.Noted by James Parker, in describing the precedents for the white marble caryatid chimneypiece from Chesterfield House, Westminster, now at the Metropolitan Museum of Art (Parker, "'Designed in the Most Elegant Manner, and Wrought in the Best Marbles': The Caryatid Chimney Piece from Chesterfield House", The Metropolitan Museum of Art Bulletin, New Series, 21.6 [February 1963] pp. 202-213). In the following century Jacopo Sansovino, both sculptor and architect, carved a pair of female figures supporting the shelf of a marble chimneypiece at Villa Garzoni, near Padua.Also noted by Parker 1963:206.
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The novel is structured basically as a künstlerroman ("artist's novel"), following the late-life development of Pierce Moffett in his attempts to finish a fictional book combining speculative history, fiction and a fictional world he created as a child called Ægypt. Pierce's two main sources for the book include the work of his graduate professor and speculative historian Frank Walker Barr, and the highly productive historical novelist Fellowes Kraft. Barr's theories are likely based on the speculative historians Crowley cites in his short note at the beginning of the novel, which names the work of Robert Graves, the nearly forgotten Pre-Raphaelite Katharine Emma Maltwood, and especially Dame Frances Yates, who Crowley cites as a deliberate influence, calling the novel a "fantasia on her themes". Kraft, on the other hand, is a historical novelist native to Blackberry Jambs in whose novels Pierce first reads about Giordano Bruno, and whose uncompleted novel about John Dee and Bruno meeting is interspersed throughout the novel.
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The 14th-century chancel has a four-light east window with original jambs, but a late-15th-century depressed four-centred head; on the north side of it a 13th-century capital (now mutilated) has been built in as a bracket. The north wall has two original three-light windows with intersecting tracery in a two-centred head; a late-15th-century three-light window with a depressed four-centred head; and a 13th-century locker with trefoiled head and stone shelf. The south wall has three windows similar to those on the north; a small late-15th-century doorway; a blocked original doorway, only visible inside; a blocked low-side window; a reset 13th-century double piscina having one whole and two half semicircular intersecting arches with interpenetrating mouldings, carried on a central shaft and two detached jamb-shafts with moulded capitals and bases. The 13th-century chancel arch is two-centred, of two chamfered orders, the lower order resting on triple attached corbel-shafts with moulded capitals and modern corbels.
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Entry gate to Tughlaqabad fort and Palace Tughlaqabad, the third city of medieval Delhi, built by Ghazi Malik is well known as Ghiyath al-Din Tughluq who established the Tughlaq Dynasty in 1321 after ousting the Khaljis, was enclosed within a fort of massive proportions completed in a short span of four years. The fort has inclined walls with triple storied citadels, enormous towers, mosques, and halls. The city when built is stated to have had 52 gates but only 13 remain today, mostly in ruins. Of the remaining gates, the main entry gate to the fort was built in typical Pathan style, which is described as made of red sandstone with sloping face and jambs which merge well with the towers of the fort. But the fort was abandoned soon after Ghiyasuddin’s death for two reasons namely, water shortage and the foolhardy decision of his successor Sultan, the Muhammad bin Tughlaq who forcibly shifted his capital to the new city of Daulatabad in the Deccan and returned to found the fourth city of Jahanpanah.
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The present window has three trefoil-headed lights under a pointed arch. The memorial window to Rev. Ash On both the north and south walls of the chancel can be seen the remains of the original Norman windows, which were exposed during the 1896 improvements. In each case, three of the western jamb stones and two voussoirs are now visible. The present chancel windows are slightly to the west of the originals and are 14th-century single light windows with ogee trefoil heads. At the western end of the south wall of the chancel, there is a second lower window which dates from the 13th century, with a pointed trefoil head and rebated jambs. This contains the only stained glass in the church, the work of James Powell, installed in 1896 to commemorate Rev. Richard Drummond Ash. The image represents Richard de Wych who was Bishop of Chichester from 1244 to 1253, although the face is that of Richard Durnford, the Bishop of the Diocese who had recently died. The inscription below the window reads: > In memory of Richard Robert Drummond Ash, M.A. rector of this parish for 28 > years A.D. 1860–1888.
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The room was the last space in the building to be carved, with sculptural work only beginning in the late 1950s and continuing intermittently for the following two decades; approximately 225 blocks of varying sizes still remain uncarved. Amongst the work done are three series of stone works: The British North America Act, a set of 12 high reliefs on the east and west walls of the chamber, carved between 1978 and 1985, and illustrating through symbols and narrative themes associated with the federal and provincial responsibilities laid out in the British North America Act; Evolution of Life, a series of 14 sculptures within the spandrels of the pier-arches at the north and south ends of the House of Commons, depicting Canada's palaeontological past and the evolution of humanity through philosophy, science, and the imagination; and Speakers and Clerks, comprising four heads carved on the jambs of the two doors on either side of the Speaker's chair, depicting the speakers and clerks of the House of Commons at the time of the opening of both parliament buildings in 1867 and 1920, respectively. With the closure of Centre Block for renovations in December 2018, the Commons chamber was relocated to nearby West Block.
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