108 Sentences With "mullioned window" | Random Sentence Generator

The living room continues into a dining room with a large mullioned window overlooking the garden.

Its lower storey has an elliptical- headed doorway, and in the upper storey is a four-light mullioned window. Each lateral bay has a four-light mullioned window in the lower storey and a three- light mullioned window in the upper storey. A tall rubbed brick chimneystack rises from the left side of the roof. Diagonally from the right corner is the inn sign.

The portal has a mullioned window, and three arches surmounted by small busts. The square Romanesque bell-tower has increasing mullion arches as it rises. Above the entrance portal is a mullioned window. The baptismal font was sculpted by Giovanni Morello.

The bell tower, dating to c. 1450, has numerous friezes and a triple mullioned window with marble columns.

In the angle between the bays is a single-story porch with a four-light straight-headed mullioned window. There are two tall brick chimney stacks.

The east window has three lights and is in Perpendicular style. On the south wall of the chancel is a blocked doorway and a three-light mullioned window.

The surviving mullioned window of the apse. San Giovanni in Conca is a crypt of a former basilica church in Milan, northern Italy. It is now located in the centre of Piazza Missori.

The upper stories suggest the palace was built by combining two adjacent properties, since the windows from the upper floors differ with mullioned window on the right, and the joint sit is evident.

The southern end maintains a moated bridge and shows the original crenellations. The Eastern end has a bifore or single mullioned window. The castle lost a surrounding wall and the interiors are highly modified.

The main surviving free-standing structure is the two-storey gatehouse leading to the enclosure in which the castle stood. It has a mullioned window in the east wall. It possibly dates to the 15th century.

In the upper storey are two four-light mullioned windows. On the left side is a three-light oriel window with a four-light mullioned window above, and in the merlon above this is a niche containing a statue. On the right side is a blocked arch in the ground floor, a single- light window above it and a four-light mullioned window in the top storey. In the angle between the gateway and the newer building, on the left, is a square turret that is taller than the rest of the gatehouse.

The church was built in the 11th century; it has got just one nave and an apse with a mullioned window. Inside the church, there are two frescoes: one picturing Basil of Caesarea and the other (14th century) John Chrysostom.

92–93 The double-storied inn has bays built in brick with a roughcast rendering on the upper storey. It has clay tiled covered hipped roofs. Its other architectural features comprise a projecting two-storey porch with oak post- and-rail fence inscribed with a number of sayings on either side, lateral bay with four-light mullioned window in the lower storey and a three-light mullioned window in the upper storey, a tall rubbed brick chimneystack, and the inn sign located diagonally from the right corner. The inn continues to function as a public house and restaurant.

The tympanum is decorated with two letters "A" inserted in an "O", and a mullion divides the entrance in two smaller, twin-arched portals. The South side of the apse is decorated by a beautiful, large mullioned window with late Gothic tracery.

It is of the manual action type. Stained glass panels were placed in the existing three mullioned window on the north gable in 1927. As there is no burial ground attached to the church, burials take place at the nearby Old Church yard instead.

The stone façade is made of stone bricks with a small mullioned window. A large bell-tower arises next to the façade. The semicircular apses differ, with the center one being less decorated. The church contains some of the Romanesque sculptural elements embedded in the walls.

The façade has three arches, two of them walled up. Above the center rounded arch is a mullioned window. The apse has a sail-like belltower. The interior has traces of frescoes, but houses an 18th-century canvas depicting Life of Santa Illuminata by Giovanni Andrea Lezzerini.

Later, the window was mostly forgotten, coming back in vogue in the nineteenth century, in the period of eclecticism and the rediscovery of ancient styles (Neo-Gothic, Neo-Renaissance, and so on). Compared to the mullioned window, the trifora was generally used for larger and more ornate openings.

The bell openings have two lights. On the south side of the roof of the body of the church is a dormer with a five-light mullioned window under a timber gable. In the south wall of the chancel is a priest's door. The east window has five lights.

In the upper section the Ionic pilasters around the mullioned window are fluted and delicately ornamented. And with the table that surmounts it, the composition imparts a refined sophistication. Thus, Dominique Bachelier was able to offer the owner a complete composition which evoked both power and a delicate erudition.

To the right of this are a round-headed window and a 14th-century two-light mullioned window. In the south wall of the chancel are three windows, with a doorway below the central window. The east window has three lights. The windows in the Hilton Chapel are round-headed.

3-light mullioned window with cavetto mouldings and hoodmould over former rear entrance. Early C19 stable block adjoining C16 range with arcaded stable yard. Symmetrical stable block with honey-comb brick treatment to 1st floor hay lofts, possibly for ventilation. Outbuildings incorporate doorway (see above) and other carved fragments from the C16 house.

The castle today hosts the hotel Castello Visconteo. The interior rooms with Middle Age frescoes are open for the visit of the hotel guests. The view from the Adda river with its high buttresses characterizes the castle. The façade shows the original mullioned window and, at a lower level, the more recent quadrangular shaped ones.

The facade has some Romanesque sculpted carving in bas-relief. Flanking the mullioned window in the facade are two lions, with an eagle above. A major restoration was pursued in 1693, patronized by Angelo Bonelli. Many of the canvases from this time have been moved to the present parish church of Santi Pietro e Tommaso.

The building has three bays; from the left, the first two bays contain seven-light mullioned windows. Above the window in the central bay is a dormer gable that contains a three-light mullioned window. The right bay contains a modern patio window. Between the left and central bays is a decorated brick chimney stack.

The top storey has one three-light mullioned window over four arched panels. To the side of it are panels containing S-shaped braces, and above it is a gable with lozenge- and S-shaped braces. The lower two storeys on the south side of the house are constructed in sandstone, with timber-framing above.

Mandaloun of the 17th-century Deir el Qamar Synagogue. The mandaloun () is a term given to a type of mullioned window. The mandaloun is an element of the traditional architecture of Lebanon that first appeared in the 17th-century stately mansions and later in the vernacular houses of the mountains of Lebanon.Kfoury 1999, pp.

Green Paddocks is constructed in brown brick with red tile roofs; it has two storeys and attics. The entrance front is symmetrical in three bays, with the central bay projecting forwards. The central bay has an arched doorway with a twelve-panelled door. Above this is panelled brickwork and a mullioned window, and over this is a pargetted gable.

The small stone church was originally built in 1093 to house an eremitic lodging of Benedictines, linked to the Sant’Eutizio di Preci monastery. The apse is semicircular, and the portal has a rounded arch with a mullioned window above. The belfry with two bells is a sail-like projection above the tympanum.Comune of Ussita, brief entry on church.

The top storey contains a three-light mullioned window, over which is a gable. In the middle storey on each side of the window is a niche with a crocketted spire containing a statue. The lateral bays have a two-light arched window on the ground floor. Above these rises a two-story canted turret carried on corbels.

The House is an important work of its period demonstrating the Modernist architectural movement of Melbourne during the 20th Century, in which he 'favoured rectilinear modernist compositions, often with protruding bays and timber mullioned window walls shaded by deep eaves'. The practice and Kagan himself were influenced by the works of Roy Grounds, Frederick Romberg and Robin Boyd.

The lower part starts at the top of each side with blind arches including lozenges. The bell has instead a good plan, with a single mullioned window on each side, and is surrounded by a gallery with small arches supported by columns. The cusp has a pyramidal shape. The polychrome effect was obtained by using stones from different locations.

The church is dedicated to the patron of the town. The Gothic mullioned window suggests the church was built in the 13th century. It likely coalesced around an aedicule dedicated to the saint, enlarged over the age. The first enlargement occurred in 1524, circa when the fresco of the Enthroned Madonna with Saints was painted behind the altar.

The portico has three round arches on columns and is surmounted by a balustrade. The central doorway has a round arch and on each side are two mullioned and transomed windows. On the first floor is a central doorway with a mullioned window above and arched niches in each side. The other bays contain mullioned and transomed windows.

Giuseppe Polizzi describes the palace in this way: : Torre De Ballis, whose upper partis well kept, has a rectangular window, divided into three lights by two small columns and a mullioned window in the posterior façade, besides a beautiful frame with Machicolation, sustaining the merlons. Doors with elliptical arches, surrounded by gothic shape leaning on small moulded corbels.Giuseppe Polizzi: I monumenti di antichità e d'arte della provincia di Trapani; Trapani, Giovanni Modica Romano, 1879, p.61 Palazzo De Ballis, after the last restoration Palazzo De Ballis, seen from via Madonna dell'Alto On the first floor the square tower has a window with an architrave and small corbels; on the second floor, there is a three-light-window inserted into a round arch; on the eastern side of the court yard there is a mullioned window.

The right bay has two storeys plus an attic gable. On the ground floor is a five- light mullioned and transomed window and above this is a five-light mullioned window. In the gable is a three-light window surrounded by lozenge panels and brick diapering. The parish room on the extreme right has three bays divided by buttresses and contains arched windows.

The left bay has a single-light window in the lower storey and a five-light mullioned window with semicircular arches in the upper storey. Between the storeys is brick diapering with plaster infills. In the gable above the window are square plaster panels surrounded by brick. The right bay projects forwards and has five-light mullioned arched windows on both storeys; it is without decoration.

This dates from the late 15th century and is possibly the most complete Medieval merchant's house in Wales. Stone built with three storeys and the roof consists of five bays of crucks. At the third floor level a lateral chimney stack and a mullioned window are corbelled out and there is a large cylindrical chimney stack to the north. There is some painted decoration inside.

To the right of the porch are two- light Decorated windows, and a two-light mullioned window. On the north side are two-light straight-headed windows. The east window of the chancel has three lights. On the south side of the chancel are a lancet window, and a two- light Decorated window, and on the north side is a two-light Perpendicular window.

It is illuminated by a mullioned window on the landing between the two flights of stairs, an element common to much of Codussi's work. The final major architectural changes were made during the 18th century. Following the fall of the Venetian Republic in 1797 the schools were suppressed by a Napoleonic edict. However, during the 19th century San Giovanni Evangelista was one of the ones re-constituted.

The trifora has three openings divided by two small columns or pilasters, on which rest three arches, round or acute. Sometimes, the whole trifora is framed by a further large arch. The space among arches is usually decorated by a coat of arms or a circular opening. Less popular than the mullioned window, the trifora was, however, widely used in the Romanesque, Gothic, and Renaissance periods.

Over the main figures, inscribed within Gothic-style small arches and twisting columns, are other figures of saints; in the upper frame is an Annunciation within a mullioned window, surmounted by the Eternal Father. The frescoes in the choir are from 1307, with stories of the History of the Passion, attributed to the Master of 1310. The church houses also a 13th-century crucifix.

The Château de Grâne is a ruined castle in the commune of Grâne in the Drôme département of France. The castle stands above the village of Grâne and is largely in ruins. Remains include sections of the curtain wall and a tower. The mounting for an old mullioned window and a spiral staircase are visible, as well as vaulted cellars from the 13th century.

The Carli Mansion (; ) is a mansion in Koper, a port town in southwestern Slovenia. It is named after the family of the historian and encyclopedist Gian Rinaldo Carli, who was born in it in 1720. It is an example of the Baroque architecture, with a balcony in the piano nobile, decorated with a three- mullioned window. Its inner court, decorated with frescoes, has a fountain from 1418.

The building is an L-shaped plan, with a ground floor, a mezzanine and two piani nobili. The latter, differently from the others, have a façade in Istrian stone. The left side of the façade is shorter, and thus the portal and the central openings of the floors are asymmetrically placed. The floors have eight windows, the four central ones joined to form a quadruple mullioned window.

All these windows contain simple Perpendicular-style tracery. On each side of the vestry is a flat- headed two-light mullioned window. Inside the church are a Perpendicular-style reredos, an octagonal font, a brass lectern, and a brass chandelier. The two manual organ was installed in 1964, having been moved from a Congregational church in Warrington; it was made by Hall of Kendal.

The church was built in the first decade of the 14th century, completed in 1327, along with the adjacent Franciscan monastery. It was built putatively atop the ruins of an Ancient Roman theater. The external structure retains some late- Romanesque features including a polygonal apse, but also have Gothic mullioned window above the portal. The stone façade is plain except for the round white stone main portal.

This is constructed in red ashlar sandstone with a red tile roof. It is in one storey and its south front has five bays. Each of the central three bays has four-light mullioned and transomed window under a stone-coped gable with a finial. In the left bay is an arched doorway and in the right bay is a four-light mullioned window.

The origins of the house are medieval, evidenced by its moated site, but nothing remains of the medieval structure. The name translates as "the grove of the fortress". The present building dates from two periods, of around 1630 and 1670. Sir Cyril Fox and Lord Raglan, in the third of their three-volume study, Monmouthshire Houses, describe Llwyn-y- gaer as "important" and include a photograph of an ovolo mullioned window.

Reredos with cresting and canopy date from 1923. At the west end of the nave is one of the church's original box pews. The organ loft has a three-light mullioned window. There is a stained glass window of 1874 in the south aisle and the east window dates from 1927 incorporating some earlier glass and the Ridgway arms in the tracery at the head of the window.

The 19th- century windows on the south side of the church contain Decorated-style tracery. A fragment of Foxe's house remains on the south side of the church. At the east end is a blocked round-headed Norman arch, which was originally the chancel arch. Inserted into this is a blocked three-light Perpendicular window, and above it in the gable is a blocked mullioned window remaining from Foxe's conversion.

Some roofs used a hand made Belgian peg tile which is very difficult to match when repairs are needed. The Conservation Areas Design guidelines explain that "privet hedging, grass verges, street trees and the provision of small cottage gardens" and "the widespread use of wooden mullioned window frames (both sash and casement), brick façades, pitched and gabled roofs, small dormers and panelled doors reinforce the cottage character of the estates".

From the west side there is access to an area called "Foresteria." A staircase leads to the castle tower or male. The continuous tower with a wooden gallery from which a mullioned window with the emblem of Abbate can observe the south side of the country. The Abbate family commanded the castle from 1283 to 1397 after Palmerio Abbate campaigned with Geovanni Procida during the War of the Sicilian Vespers.

The Sala Capitolare (Capitular Hall) is decorated with a triple mullioned window with richly decorated capitals. Typically French in inspiration is the ambulatory with radial chapels. In Italy this scheme is known only in Santa Trinità of Venosa and the Cathedrals of Acerenza and Aversa, all in southern Italy, and in Santa Maria of Piè di Chianti, Marche. The ambulatory housed the pilgrims to pray the Martyrium, the place where the Saint's relic are placed.

Beneath the chancel, the vestry has a door with a Caernarvon arch, and a two-light mullioned window. The east end is buttressed and contains a triple lancet window. At the west end are four lancet windows with trefoil heads, with a quatrefoil window above, and an entrance doorway leading to an internal porch. St John's Church, Cotebrook, from the east The font is octagonal, and is carried on eight clustered shafts.

This dates the house back almost 400 years now, and some of its key features such as its original three light mullioned window still remains to this day. Furthermore, there was once a school, named 'The Free School' in Newbiggin which was founded by Elizabeth Withay in the year 1748. This was endowed with 3 acres of land, and rented at £7 a year. This would equate to around £596.12 in 2005.

The loom shop was marked by the long multi-light mullioned window that became common in urban settings. Three- storey terraced cottages are now referred to as Weavers' cottages. Most extant cottages in the north-west date from the late-18th and early-19th century when weaving had ceased to be a sideline. They were adapted or built specially at a time when spinning technology was sufficiently advanced to supply the needs of the weavers.

The façade received a Gothic mullioned window and the bell tower was also modified. From the same period the first chapel comes, in Italian Gothic style, in the transept's left arm. The right transept was completed after the conquest of Cagliari by the Aragonese, and two additional chapels were built. Mausoleum of Martin I of Sicily In 1618 the presbytery was elevated in order to build a sanctuary for several relics of martyrs.

The doorway is in the central bay; over this is an oriel window supported by wooden columns under a gable. To the left of the door is a five-light mullioned window. A pair of small outbuildings with hipped roofs are attached to the left side of the house. The south aspect of the house has a canted window in the lower storey under a jettied timber-framed upper storey supported on wooden brackets.

The Palazzo delle Vedove (Italian for Widows' Palace) is a palace in Pisa, Tuscany, Italy. The palace, built in the 12th–14th centuries, is sited land which in antique times was the domus of the Bocci family of Pisa. Detail of the medieval edifice can still be seen in the exterior, including a marble quadruple mullioned window partially covered by a rectangular window. On one of the sides was once a portico.

Façade of San Sisto San Sisto is a church in Pisa, Tuscany, Italy. It was consecrated in 1133 but previously it had been already used as the seat of the most important notary act of the Pisan commune. It was built in a Pisane- Romanesque style in stone. The façade is divided in three parts divided by pilaster strips, with a mullioned window and arches in the upper part which continues on the whole exterior.

The porch has a round-arched doorway, and the door to the church has a plain tympanum. To the left of the door is a square-headed window and to the right are two lancet windows on each side of a window with a pointed arch. At the west end is a lancet window, and in the north wall is a two-light mullioned window. The chancel is lower and narrower than the nave.

The basilica has a façade in undecorated sandstone, with three bays corresponding to the interior's nave and two aisles. The central one has the main portal, surmounted by a triple mullioned window. The façade is topped by a tympanum also divided into three parts, the central one featuring a lozenge. Near the pilasters flanking the portal are two old columns, leading to the hypothesis that the church once had a portico or similar structure.

This church is first documented in 998, when the Marquis of Tuscany, Ugo, donated this church the Abbey of Marturi. In 1046, it is cited as being under the Pieve di Sant’Agnese a Castellina in Chianti. The stone façade of the church is simple but decorated in foliated reliefs on the round portal. The mullioned window above the portal has a mysterious dedication to R, S, A, Ω. The apse has columns with decoration with human and animal forms.

The church of San Bartolomeo is a Romanesque building from the 11th century, in limestone. The interior has a nave and two aisles. San Leonardo (14th century) has a façade mixing Gothic and Romanesque elements, and a side mullioned window with vegetable decorations influenced by the Apulian architecture of the period. Villa de Capoa, recently restored, is a noteworthy garden with statues and a wide variety of plant species, including sequoias, Norway Spruces, cypresses and Lebanon Cedars.

There are three windows on the ground floor and three half-dormer windows in the roof. There is a stone inscribed "HP 1640" above the left, mullioned window. The entrance hall has a straight staircase and wooden partitioning on either side separating it from the parlour on the right and the kitchen on the left. In the parlour, the fireplace has been blocked up but there is a window seat below the window in the rear wall.

Its existence is dcumented as early as 1061. Founded by the family Buzzaccherini- Sismondi and originally dedicated to Saint Martin, it once had a hospital annexed to it. The Romanesque façade, dating to the early 12th-century shows some of the typical features of the Pisane medieval architecture, such as the blind arcades, the lozenges and the use of bichrome stones (present also in the city's cathedral). The upper section is crowned by a large mullioned window.

The sixth bay, probably the site of an earlier transept, contains a three-light window. On the north side of the church is a porch, with one bay to the west and three bays to the east, all with two-light windows. In the north transept, the north window has three lights, and the west window two lights. The north wall of the vestry contains a four-light mullioned window and a doorway; the east wall has two two-light windows.

The side facing Lower Bridge Street contains three casement windows, and that facing Shipgate Street has two similar windows and a doorway. The upper storey is timber-framed, with close studding. On the side facing Lower Bridge Street are two five-light mullioned windows, above which are two blank gables; that facing Shipgate Street has two two-light mullioned windows, above which are two gables, each containing a four-light mullioned window. The rear of the building is clad in brick.

San Pietro in Vidiciatico is a Roman Catholic parish church located in the neighborhood of Vidiciatico, which belongs to the township of Lizzano in Belvedere in the Province of Bologna, Italy. The present church was erected in the 1882-1884, to replace a Romanesque-style church built in 1393. Of the old church only the apse portion remains with a mullioned window. The adjacent square bell-tower was built at a site that likely was part of an ancient castle tower.

The chapel is situated between living chambers and from the location of the door, it shows that it was accessible from both sides and served as the last chamber in this floor. Church services could be viewed by the residents of the house from the adjoining chamber through a horizontal mullioned window. Example of polychromy in a niche in a private oratory Inside, the oratory exuberated with many architectural details. The most significant include a trefoil niche in the east wall.

San Giovanni in Conca ruins include the only extant example of Romanesque crypt in Milan. It houses archaeological findings which illustrates the church's history. Over the crypt are remains of the apse walls, with a single mullioned window and blind arches typical of the Milanese Romanesque. Artworks from the church which are now in the Sforzesco Castle include, apart the two aforementioned funerary monuments, two figures from an Annunciation (11th century), some Romanesque capitals and frescoes from the 14th century.

The lower part is in turn divided into three sections: the middle one houses the portal, which is surmounted by a rounded arch in two colors and a finely sculpted motif in the frame. The upper section has a small double mullioned window. The church has a nave and two aisles with wooden ceilings, separated by round arches; these are supported by columns from older Roman edifices. The capitals are instead contemporary of the church, aside from two (including one acting as holy water font).

At the lower level is the western portal with a depressed Tudor arch, recently restored, above which rises a traceried window framed by a brick course. The tower rises in two stages, the first having a square-topped mullioned window in the Tudor style. The belfry level has a large rounded-headed opening with Classical details, including rusticated voussoirs, Ionic pilasters and a brick entablature. The tower is topped by a crenelated parapet, and pinnacles in the Tudor style dating from the 19th century.

The mullioned window at the top is from the twentieth-century restoration while the large oculus is fourteenth century, the result of Bishop Stephen from Carrara to adorn the structure. Along the aisles, simple and unadorned openings from various periods: single and double windows of Romanesque, Gothic and an oculi windows from the sixteenth. The Palladian windows open in the seventeenth century were buffered in the nineteenth century. The early medieval apse, with a blind arches, a gallery, and a large central niche, was reconstructed in 1852.

The apse dates back to the original 12th-century construction: it features a medieval mullioned window and a late-16th-century choir by the Neapolitan artist Scipione di Guido. At the end of the north transept is the Chapel of the Holy Crucifix, by Domenico Mazzola (1577). It houses the tombs of members of the Aragonese branch of Sicily, including Kings Frederick III and Louis, John of Randazzo, and Constance. The northern aisle has several 17th-century paintings of saints, including one by Borremans.

The eastern chapels and transept are covered by Gothic stone rib vaulting, while the nave aisles are covered by a simple wooden roof. It is likely that the original plan called for the whole church to be covered by stone vaulting like other Portuguese cathedrals built at the time, like the Cathedral of Guarda. The aisles of the nave are separated by arches of pointed profile supported by columns of octagonal cross section. The south transept arm is illuminated by a large mullioned window with Gothic tracery.

It is 21 feet in height, with a handsome carved oak staircase and galleries, and is lighted by the mullioned window already mentioned, filled with choicely designed stained glass, bearing heraldic devices. Off the main staircase is a flight of stairs leading to the Ladies' Bower, a pretty room over the porch. Further on is a winding staircase carrying the visitor to the billiard room. Still higher are the bedrooms and corridors, from which peeps of the hall may be obtained through charmingly designed arcades.

Among the other churches found inside and outside the town walls are Sant'Agostino, Santa Clara, Santa Illuminata and San Fortunato, the latter, built in the 4th century over the tomb of Fortunatus of Spoleto and renovated in the 15th century, had frescoes by Gozzoli and Tiberio d'Assisi. The 13th century Palazzo Comunale ("Town Hall") has a mullioned window from the original edifice and a 15th-century portal. Also notable are the gates in the walls, including Porta Sant'Agostino, Porta Camiano and Porta Federico II.

Retable The church was built in dark basalt stone by Pisan workers (the island in the Middle Ages was under strong influence from the maritime Republic of Pisa). The façade is divided into five sectors and has a salient-shaped façade. In the middle is the portal, surmounted by a double mullioned window. The whole exterior of the edifice is characterized by false columns (lesenes) and Lombard bands; on the right are the remains of the square bell tower, which is missing the upper part.

The façade is made with regular joists in travertine and is the result of a restoration of the 1920s. Inside, the baptismal font (also in travertine) and parts of the 14th-century fresco are adorned with figures of saints. The portal is surmounted by a bezel and a double, very elaborate mullioned window, above which is another, smaller window in the shape of a cross. To the left of the bezel, one of the stones forming the wall has an inscription that testifies to the date of consecration.

The cathedral measures by and is built on the ground plan of a Latin cross. The façade reveals the different influences which inspired the anonymous architect: the blind arcades in the lower part, decorated with circular openings and lozenges, the loggiato in the middle part and the surmounting tympanum are in Pisan Romanesque style. The large ogival mullioned window and the three spires show instead a Sienese influence. The central portal flanked by two lion columns has five panels dating from the early 13th century illustrating the legend of Saint Cerbonius.

The chapter house follows the typical design of the Cistercian monasteries, being located in the center of the cloister's eastern wing and separated from the sacristy by the end of the church's transept. The orientation of the room admits the morning light through three windows opening in the eastern wall. The entrance from the cloister is through a Romanesque portal framed on either side by a large mullioned window of equal height, the three openings forming a triple arcade. The hall has a square plan, divided into nine cross vaulted sections by four central columns.

The sides and the apse are decorated with Lombard bands. The interior contains a nave and two side-aisles divided by eight cruciform piers, characterized by black and white bands, over which are rounded arches. The nave, covered with cross vaults, is illuminated by several mullioned windows; the wall of the west front has a double mullioned window and an oculus. The north aisle houses a 15th-century sculpture of the Madonna and Child, while at the third pier is a marble pulpit in Gothic style, whose dating is uncertain (perhaps the 14th century).

Further on, a representation of Herodias' daughter bringing John the Baptist's head to Herod, with the decapitated body in the background. To the left of the fireplace, between it and the square-headed and stone- mullioned window, is an oak partition, panelled and carved, surmounted by a plaster partition between it and the ceiling, and over the door are the initials "I. T." Inside the partition is a room referred to as a chapel, though it has the appearance of an ordinary parlour or drawing room, with nothing ecclesiastic in its features. The c.

The plain Gothic-style brick two-story structure is located in the town center, next to the parish church of San Vito Martire. Construction took place in 1369, commissioned by Stefano Porro, an ambassador to the court of Bernabò and Galeazzo Visconti, who was made a palatine count by the Holy Roman Emperor Charles IV in 1368. The outside appears dilapidated. The entrance to the single nave is through a stairwell dipping below the right of the façade, above is a mullioned window with an ogival window frame.

In the upper storey, above the porch, is a panel containing a triple lancet window. To the right of this is another lancet window and the voussoirs of a blocked arch. In the east end of the building is a segmental-arched window in the ground floor, a three-light mullioned window with intersecting tracery in the upper floor, and a coped gable. At the west end is a high-level segmental-arched window in the ground floor, a buttress at the southwest corner, and a coped gable with a gabled finial.

Fausto Lechi, Gaetano Panazza, La pittura bresciana del Rinascimento, exhibition catalogue, Bergamo 1939, p. 178 In 1958 Gaetano Panazza called the work "a most delicious little panel, despite some heaviness in the cloud surrounds the Holy Spirit. It is one of Moretto's most successful creations, intimately poetic and rich in serene religiosity, silvery and cold in tones tuned and subdued, in which dark pearl predominates. The solution of the double-mullioned window is Lombard, perhaps with some Leonardesque sense, that lets us see the blue landscape in the background".

Iron Bridge Lodge is built in two storeys with attics and a single-storey extension, the lower storey being in red brick and the upper storey jettied and timber-framed. The main part of the house has two bays facing the river. In the lower storey, the left bay has a two-light mullioned window and in the right bay is a similar window with four lights. In the upper storey each bay has a four-light oriel window with a small two-light window in the attics above.

Behind the altar is a mullioned window opening towards the interior of the cathedral, sided by two decorative lozenges which can be seen also on the exterior walls of the apse, and are typical of the Pisane Romanesque style. The right room houses instead a characteristic mitre-shaped fireplace. From the narthex is also accessible the true interior of the church, which has a nave and two aisles divided by columns, with a semicircular apse. The nave is covered by wooden trusses, while the aisles are groin-vaulted.

Around these windows is timber-framed panelling. The frames over the porch contain the inscriptions "The profit of the earth is for all; the King himself is served by the field", and "Every house is builded by some man, but he that built all things is God", the latter being a text taken from the Epistle to the Hebrews. The lateral bays each have a mullioned window in the ground floor. The return to the left of the main front has a gable containing a window and timber-framed panelling.

There are two two-storey wings, one opposite the farmhouse, the other at the rear, and a smaller single-storey wing behind the farmhouse. The upper storey of the wing opposite the house has timber framing in the upper storey; otherwise the buildings are in brown brick with blue brick diapering. In the gable at the end of the wing opposite the farmhouse facing the lane is a two-light mullioned window surrounded by panelling. Douglas submitted his design for this building and for Wrexham Road Farm at the Royal Academy in 1888.

A mullioned window before the restoration in a photo by Paolo Monti In the 15th century, Francesco Sforza consolidated the castle with the imposing buttresses, elevated over the Muzza canal and brick-made. The castle later passed to the d'Adda family and then to the Borromeo family, which motivates the name of Borromeo Castle occasionally given to it. In the following centuries, lost its military importance, the castle was used for different purposes: warehouse, prison, and recovery for homeless people. In the 20th century, restoration works were undertaken, bringing back the castle to its original features.

Bell tower The abbey includes a church with a short bell tower, a cloister and a capitular hall, featuring both Gothic and Romanesque elements. For the construction sandstone and bricks were used to give a bichrome appearance to the exterior (such as in the upper façade), a feature common also in Liguria and Tuscany in the Middle Ages. In the Romanesque façade, two of the three original portals are still existing. The upper part also features small columns with arches, with a mullioned window in the middle, with Christ flanked by the archangels Michael and Raphael.

Under the loggia is a 14th century rose window, with 15 rays and, at its center, a basrelief depicting the Agnus Dei. At the left of the rose windows are three coat of arms: the center one belonged to 16th century emperor Charles V, while the other two date from the 16th century restoration works. Further to the left is a mullioned window with Eastern art-like decorations from the original Frederick II's building. The façade is completed by a 14th centuryl portal, included within a prothyrum supported by two columns that have, at their base, two sculpture of lions (1533).

The church shows clear influences from the workers who were called to build it, and which belonged to the Lombard and Pisane schools. The portico, inspired by French models, has a lower storey with three rounded arcades, two of which included mullioned window (the left one closed). The middle arcade leads to the narthex, which has six groin vaults supported by cruciform piers. On the narthex' right side is a staircase leading to the upper floor with three rooms, the central of which, provided with an altar, was the private chapel of the bishops of Bisarcio.

Above the portal is a double mullioned window with a bas-relief of the "Archangel Michael Defeating the Devil", and above it, a 16th-century rose window with twelve radiating columns. This is in turn surmounted by the Sedente ("Sitting One"), an enigmatic figure which has been variously identified as Robert III of Loritello (who funded the construction), while at the top of façade is a statue of the Redeemer. The bell tower, in a different style, most likely formed part of the medieval city's walls. The interior is divided into a nave and two aisles, ending into three apses, with an orthogonal transept.

Retrieved 6 October 2019 Firs Farm (listed 1985), on Todenham Road south-west from the church, is a late 17th- to early 18th-century rectangular plan two-storey detached farmhouse with wall courses of dressed limestone, and three three-light mullioned windows with central casements on the first floor, and one off-centre from a central door, on the ground. The front face of the building has a stone lean- to up with to the eaves at the left, with inset mullioned window, and a single storey extension as a farm store to the right.Firs Farm, Todenham Road, Todenham, Google Street View (image date August 2016).

The church has a façade divided into three parts by two fake columns, with a central triple mullioned window with marble columns; the small bell tower on the right is in Spanish style and is a late addition dating to the Spanish rule of Sardinia. on the left of the façade is inserted an early mediaeval marble slab from another edifice, perhaps portraying Christ entering Jerusalem, or a clash of knights. The apse is decorated with small corbels, and is surmounted by a large pediment. The interior, showing the granite construction of the basilica, is on a nave and two aisles divided by columns and piers.

The recent restoration project of the church was finished at the end of 2017 and also addressed the needs of the last Quinquennial Report. The project was principally funded by the Heritage Lottery Fund, and also included the repointing of the external walls of the chancel and north and south transepts of the church, the relining of the organ roof above the vestry, renewal of the guttering, and the restoration of the mullioned window in the south transept. The most recent project followed two previous restoration projects, over the last 10 years or so, to restore the tower, and to repair the nave and roof of the church.

Moorish mullioned window in the Alhambra of Granada Mullions may be made of any material, but wood and aluminium are most common, although glass is also used between windows. I. M. Pei used all-glass mullions in his design of JFK Airport's Terminal 6 (National Airlines Sundrome), unprecedented at the time. Mullions are vertical elements and are often confused with transoms, which lie horizontally. In US parlance, the word is also confused with the "muntin" ("glazing bar" in the UK) which is the precise word for the very small strips of wood or metal that divide a sash into smaller glass "panes" or "lights".

Besides the entrance to each bedroom is a Pre-Raphaelite portrait in bas-relief on the wall, including one of Jane Morris. Enclosed areas... The gardens, seven in all, are enclosed areas (chambres verts – "green rooms" of plants) surrounding the house on the south and east sides. Gertrude Jekyll, their creator, mixed colours and scents together in order to design a unique atmosphere in each of them. The layout of the gardens relates closely to the rooms within the house; for example, the two stone seats set in niches in a yew hedge at the end of the White Garden mirror the arrangement of two small closets and a large mullioned window at the opposite end of the music room.

The hotel retains elements representative of the Gothic style, especially for the parts built by Huc de Boysson, but also Renaissance elements, in the parts added by Jean de Cheverry. In the first gothic courtyard, on the first floor of the tower a large Renaissance-style mullioned window was opened in 1535: the columns and the mullion were replaced by three caryatids and the pilasters are covered with arabesques. The second courtyard was formerly the garden of Huc de Boysson, and on the east side of the courtyard, in the part which belongs to the Hotel de Boysson, there is a remarkable window: the Gothic frame is overloaded with scorching scrolls of Finely carved thistles. The arcaded gallery is supported by columns of stone Doric style.

The property is built over four storeys, featuring several separate cellars, ground floor, first floor and extensive attics in the roof. The house, which has eight bedrooms, still retains the very wide fireplaces in both the kitchen (stretching across most of one wall) and the drawing room. The property is of thinly bedded coursed measured sandstone with ashlar dressings, coped gables, quoins, gable and end ashlar ridge stacks with moulded caps and a stone slated roof. To the north elevation there is a central gabled range with tall chamfer mullioned window set centrally at each floor level beneath a drip mould; the ground floor with four window lights, the second floor with three window lights and the attic floor with two.

The house is primarily composed of protruding bays and timber mullioned window walls, shaded by deep eaves, stone and brick construction with concrete elements. The upper level constitutes most of the glass with glazing at the rear and lower level, it is one of the most significant design elements of the house as it floods most of the upper level with natural light. The house does not demonstrate a Pitched roof, in place it uses a raked flat roof with an overhang on the front facade for shading onto the entrance. Two storeys in height, the upper level is primarily living quarters and dining where the lower level is non living space and the lounge with access to the back yard.

XLIII, Antelias, 1974, pp-296-310 Along the south and north sides there are tympanum portals adorned with dentils with inscribed an arch, modeled with a banded cornice based on two columns with acanthus leaves capitals.G. Cubinasvili, Razyskanija po armjanskoy achitektury, Tiflis, 1967, pp.90-94 The west facade is characterized by two windows like the ones on the principal facade, with different decorative elements and, in the high part of the facade, with a three-mullioned window that lights the nave. The sculptural decorations, realized with the technique of bass-relief on the architrave and capitals in the apse and on the head of the arcades, give importance to the emblematic and apotropaic motive of the Maltese cross (with four identical limbs) inscribed in a medallion, sometimes decorated with animals and/or trees.

For the right wall, which features a double mullioned window, Pinturicchio adopted an illusionistic perspective, painting two fake symmetrical windows, one with a blessing Eternal Father and one with a dove, an early Christian symbol of eternal life. The wall contains also two scenes with episodes of the life of St. Francis of Assisi: The first is the Renunciation to the Patrimony, characterized by an oblique perspective, which takes advantage of the piers of the arches, having a grotesque decoration; the second depicts St. Francis Receiving the Stigmata, featuring in the background a view of the Verna Sanctuary over a rocky peak. Under the real window is an illusory opening with five characters: among them is an aged friar, perhaps the convent's prior, and a lay figure that resembles him, perhaps an administrator of the basilica. The Funerals of St. Bernardino.

The oldest wings of the palazzo nuovo maggiore, whose porticos are now walled up, give onto the west and south sides of the large southern courtyard, which has a fountain in the center. There are fine capitals in the style of Antelami on the mullioned windows on the first floor, above all, those of the four-mullioned window on the left, which has a round lobate window in the lunette, with twelve figures representing the months of the year. Another thing to notice is the reconstruction of the ancient wooden staircase, which in medieval times led to the great hall of the Maggior Consiglio (the organ of government) on the first floor. The palazzo nuovo minore is on the east side of the courtyard and bears this name because it was finished later (1232) than the first building on the west side. During the first 20 years of the 15th century a loggia was added by the Malatestas with four elegant slightly pointed arches and ribbed cross-vaults.