Playing extremely fast at all times is more pilaster than bedrock.
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The two surviving levels of iron were an elaborate assemblage of around 1,000 individual castings representing some 30 distinct architectural elements — everything from 2,500-pound pilaster sections to individual flowers on column capitals.
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Park Avenue wives would shop at Kips Bay, swooping in to buy entire rooms — from pelmet to pilaster — and you might find yourself, as Mr. Netto once did, meeting exiles from earlier eras, like Slim Keith, one of Truman Capote's swans.
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47 "Anta" entry At the same time, decorative pilaster designs multiplied during Roman times, so that many of the Corinthian anta capital designs are actually purely decorative pilaster designs.
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In discussing Leon Battista Alberti's use of pilasters, which Alberti reintroduced into wall-architecture, Rudolf Wittkower wrote: "The pilaster is the logical transformation of the column for the decoration of a wall. It may be defined as a flattened column which has lost its three- dimensional and tactile value." A pilaster appears with a capital.A useful phrase to identify a section of pilaster without a capital, with only its fluting to identify its relation to a column, is "pilaster strip".
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D. Arnold, "Keramik." In LÄ III, col. 403. The pilaster used in this technique could by a bowl, plate, basket, mat, textile, or even a pottery sherd. This pilaster was rotated along with the vessel, as the potter shaped it.
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The pilaster can be replaced by ornamental brackets supporting the entablature or a balcony over a doorway. When a pilaster appears at the corner intersection of two walls it is known as a canton.Ching, Francis D. K. (1995). A Visual Dictionary of Architecture.
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The beamed ceiling and pilaster ornamental motifs were executed by St. Louis artisan Fedrico Aquadro.
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Van Nostrand Reinhold Company. , p. 266. As with a column, a pilaster can have a plain or fluted surface to its profile and can be represented in the mode of numerous architectural styles. During the Renaissance and Baroque architects used a range of pilaster forms.
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To the right of the court is a cistern. The veranda has a bench along its right wall. The front of the veranda has 2 benches, flanked by a plain eight-sided pillar and pilaster; some remnants of these survive. On the right pilaster is a double crescent ornament.
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On each side are bronze figures representing peace and war. In the centre, a pilaster rises to symbolize, in allegorical terms, the principles expressed in the 1812 constitution. At the foot of this pilaster, there is a female figure representing Spain, and, to either side, sculptural groupings representing agriculture and citizenship.
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It has 3 giant bronze-spandrelled windows framed by Portland stone pilasters [pilaster], with a projecting stone cornice above.
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On the right side are a pilaster- shaped tabernacle, frescoed in the 15th century, and the Museum of the Collegiate.
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It differs from the pilaster, which is purely decorative, and does not have the structural support function of the anta.
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This difference disappeared with Roman times, when anta or pilaster capitals have design very similar to those of the column capitals.
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In the bottom stage of the tower are angle pilaster buttresses and a round- headed west door. The second stage contains two lancet windows on three of its sides, and above this is an octagonal drum. There was originally a spire, but this has been removed. Along the sides of the nave are pilaster buttresses and round-headed lancet windows.
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The Promenade originally featured pilasters that defined six bays along both its north and south sides. The capital of each pilaster was decorated with the profile of a different mythological hero, and festooned with swag. Each pilaster had a faux pedestal made of verd antique decorated with plaster rosettes and gilt plaster wreaths. The wainscoting was high, and of white Alabama marble.
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Architectural Elements, Emory University Corinthian pilaster capital supported by protomes of pegasi, from the interior of the cella of theTemple of Mars Ultor in the Forum of Augustus, now in the Museo dei Fori Imperiali, Rome Anta capitals are sometimes hard to distinguish from pilaster capitals, which are rather decorative, and do not have the same structural role as anta capitals.
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The large central room on the ground floor has a beautiful pilaster. Since 1994 the building has been extensively repaired and restored, with an escalator installed.
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The north wall of the chancel, which has been re-built in brick, is supported by pilaster- buttresses, and a larger buttress at the southeast corner.
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In the pseudo-pilaster strips above the sides of the epigraph they painted two skulls, with some ornamental motifs representing seashells and volutes in the middle.
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The cathedral has a Latin cross groundplan, with a nave and two aisles. In the southern aisle are the baptistery and, at the first altar, a canvas of Saint Febronia of Nisibis by Borremans facing, on a pilaster, the tomb of the composer Vincenzo Bellini. Also on a pilaster between this aisle and the nave is the Baroque monument of Bishop Pietro Galletti. Also notable is the Chapel of St. Agatha.
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In the Middle Ages the church was dedicated to St Olaf. The chancel and nave from the late Romanesque period were built in brick on a profiled plinth with pilaster strips on the corners. The chancel's pilaster strips now only remain on its southwest corner. Originally there was also an apse which was torn down but later replaced during the restoration work in 1861 by the Hamburg architect Ernst Heinrich Glüer.
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The surface to the landward side of this platform retains painted chevron markings. On the downriver side a low stone wall curves out, terminating in a low pilaster which defines the entry point for the bridge. The area is paved in bitumen. Metal brackets are attached to the stonework of the pylons, the centre of the arch and on the top of the outer pilaster; fittings for a gas illumination.
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Church of Saint-Sulpice (Paris) In classical architecture, a pilaster is an architectural element used to give the appearance of a supporting column and to articulate an extent of wall, with only an ornamental function. It consists of a flat surface raised from the main wall surface, usually treated as though it were a column, with a capital at the top, plinth (base) at the bottom, and the various other column elements. In contrast to a pilaster, an engaged column or buttress can support the structure of a wall and roof above. In human anatomy, a pilaster is a ridge that extends vertically across the femur, which is unique to modern humans.
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On the right pilaster there is a star, a crescent moon and a thunderbolt to be seen. Between the moon and the thunderbolt, traces of a servered head can be made out. Similar traces are found to the left of the left pilaster, which is itself undecorated. To the right of the righthand limit of the image, a symbol has been engraved, consisting of a stand with two crescent moons on top and a ball with star.
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Twin-lit, round-arched windows in the two upper stories are set within arches with highly pronounced voussoirs that spring from pilaster to pilaster. The facade is topped by a boldly projecting cornice. The ground floor was for business (the Rucellai family were powerful bankers) and was flanked by benches running along the street facade. The second story (the piano nobile) was the main formal reception floor and the third story the private family and sleeping quarters.
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Other ruins found at the site included pilaster and pillar parts. These were square, hexagonal, octagonal or dodecagonal in cross section. The largest of these had square bases. Some were smooth, some carved.
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The apse, chancel and nave are built of brick in the Late Romanesque style on a double sloping plinth with pilaster strips at the corners and saw-toothed cornices at the top. The apse is divided into three sections with narrow pilaster strips. The bevelled window to the east has been opened up and the two others reconstructed in 1911 when the church was restored. On the south wall, a small, sharply pointed and slightly projecting priest's door can be seen.
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Ruined during the slighting, the great tower is notable for its huge corner turrets, essentially hugely exaggerated Norman pilaster buttresses.Thompson 1991, p.77; Pettifer, p.258. Its walls are thick, and the towers high.
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The 1939 addition features Art Deco style pilaster capitals and cornice. The building ceased use as a school in 1983. Note: This includes It was added to the National Register of Historic Places in 1990.
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The architectural feature has been richly detailed with sculpture, including the: lintel, window and portal frames, pilaster bases and capitals, cornices, and friezes. Furthermore, some of the blind windows, window niches, sacristy, and scarps are plastered.
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On the back of the panel are a card and a seal with the stemma of the Guicciardini (which may have been a later addition). There is also a drawing interpreted as the frame of a pilaster.
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The tops of these pilasters are finished in a pattern resembling palm fronds, the trunk of which extends down the face of each pilaster. In the panels between the pilasters are located two narrow windows at first floor foyer level which are divided by a projecting decorated mullion that extends above and below the windows. Geometrically decorated panels are located in these positions. Above this is a large rectangular panel with border, and above this at parapet level a further decorative panel divided by a profiled projecting truncated dummy pilaster.
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The third level of the facade is divided into sections by the pilasters that rise from the preceding base into the curvilinear frontispiece topped by iron cross on a plinth. The pilaster divisions terminate in pinnacles just below the edge of the frontispiece. The central section has polylobal oculus framed by square stonework and cornice, from which rises a pilaster terminating at the central apex of the frontispiece in a diamond. Complementing the central oculus are lateral double-framed diamond-shaped oculi, surmounted by small niche in relief.
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The tall shaft of the building shows balanced fenestration, pilaster strips, and pinnacles. Further up, the attic storey features an arcade of paired windows with balustrades, topped off with a parapet roof decorated at the four corner towers with cupolas.
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At the base and top of the pilaster decorated with ghata pallava with scroll design. The temple is totally buried from three sides only eastern side excarated which is visible originally temple has doorjambs but at present it was buried.
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Each rotunda is made of marble pilaster columns with decorative murals in niches located near them. Both the rotundas and corridors are made from cut and polished marble with decorative copper handrails and hand-blown, egg-shaped glass light fixtures.
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The tower has four storeys and on the first storey, Etruscan pilaster has been used. The top storey has a semi-circular dome and the complete exterior is plastered with lime and has fine panelling work with different designs and patterns.
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Each house is separated from its neighbour by pilasters running the full height of the building to a cornice. The bottom part of each pilaster is rusticated. The entrance and windows have decorative mouldings to their archivolt and architraves respectively.
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Heating ducts are visible along the top of the west wall. The coffered ceiling is elliptical- arched with lateral beams springing from the pilaster capitals. The coffers themselves are intricately painted and gilded. In the center of the ceiling are stained glass skylights.
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The front facade features a metal balconette above the central recessed entrance and a two-story tripartite Palladian window with fluted Corinthian pilaster mullions. Note: This includes and Accompanying photographs It was listed on the National Register of Historic Places in 2016.
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St. Michael's Church, Passau was built after the fire in 1662 of the Church and Jesuit College. The new church was already completed in 1677. Pietro Francesco Carlone is considered the architect based on stylistic evidence. The interior has a simple pilaster layout.
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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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Brick is also used for pilaster strips. The roof is made out of wooden shingles. These adornments along with the shape of the structure itself show the classic characteristics of Ngvgorodian architecture at the height of its revival in the late fourteenth century.
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It has a gambrel roof and dormers. Trim includes friezes, bracketing, and dentilled wood running courses. A brick pergola, designed to match the house, is located on the southeast. Interior details are generally classical with dentilled ceiling moldings, pilaster strips, and frieze.
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Along the sides of the nave the bays are divided by square pilaster buttresses rising to fluted finials. The windows are round- headed. On the sides of the chancel are two-light Decorated windows, and the east window consists of triple stepped lancets.
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Facade of Santa Maria Maggiore di Firenze Frescoed pilaster in the rear area. Santa Maria Maggiore di Firenze is a Romanesque and Gothic-style, Roman Catholic church in Florence, region of Tuscany, Italy. This is among the oldest extant churches in Florence.
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Another detail is the initials MC (i.e. Meyer Carl), placed between the windows of the second floor. The building's interiors are particularly characterized by wood carving works at the gate, preserved original stained glass, and pilaster-arcades with stucco details in the entrance hallway.
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Inside, the lobby has green marble baseboards, white marble wainscoting and a white marble stair with iron railing. The high plaster ceiling's molded cornice has dentils and modillions, with an eagle on each pilaster. Bronze mailboxes and oak woodwork round out the interior decoration.
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Meghalaya, in India, is one of the many places where Amphidromus species can be found. Aestivating Amphidromus roseolabiatus inside sterile fronds of stag horn ferns, Platycerium. Pair of Amphidromus (Syndromus) sp. Red arrows shows protruded vaginal stimulator pilaster (vsp), which may be a stimulating organ.
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The Palacete Silveira e Paulo was constructed under his initiative following his purchase of the last residence of Manuel Homem de Noronha, which was situated in the same location. He ordered the demolition of this estate-house and began to construct his palacette, under the direction of the Micaelense master-builder João da Ponte. The left pilaster, inscribed with "1899", may indicate the possible initiation of its construction, while the right pilaster is inscribed with "1901", indicating its date of completion. In 1937, the palacete was acquired by the State for a mere 84 contos, to install the Escola Comercial e Industrial da Ilha Terceira, which began operating as of 1939.
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The arcade is composed of two symmetrical sections on either side of a central pilaster. Each section contains five semi-circular arched openings, the central one of which is flanked by pilasters and topped, above the parapet, by a triangular pediment. The central pilaster and the pilasters at either end of the facade are each crowned by an urn above the parapet. Lead light panels depicting the four counties of Ireland and the Queensland coat of arms, 2015 Extensive alterations to the building in 1927-28 saw the demolition of the original back wall and the addition of a reinforced concrete and steel extension.
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The article also included a detailed description of the new bridge, including the following extract: "The new bridge is to be constructed on the suspension principle, the spans being supports of ends of cables being about . To carry the cables there will be erected on each side of the river a pair of towers of sandstone masonry, produced from the immediate vicinity of the bridge. The actual length of the bridge will be about from pilaster to pilaster, and as the approaches measures about , the total length of bridge and approaches will be ." The company Loveridge & Hudson were engaged as the builders for the new bridge.
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This pier would likely have served to support four barrel vaults, in order to give access to the upper rows of niches. The central structure itself would have also provided additional niche space. The narrow edges of this pilaster contain four frieze panels decorated with Dionysian imagery.
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They feature fluted panels on each side of a vine motif. The fourth floor is stepped back atop the lower floors. Each bay here is separated by a simple limestone pilaster. The fifth floor is devoid of ornament and is stepped back from the fourth floor.
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Most of these Norman keeps were certainly extremely physically robust, even though the characteristic pilaster buttresses added little real architectural strength to the design.King, p.67; Hulme, p.216. Many of the weaknesses inherent to their design were irrelevant during the early part of their history.
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The three-storey building has P-configuration. In house’s inner wings facing a backyard there were rented premises. Architect organically combined elements of Renaissance, Barocco and Classicism in decoration of façade. Central part of the front façade is accented with pilaster side with a double- deck loggia.
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Henry Beaumont carved the significant external decorative elements such as the arabesque in the entrance archway, spandrel panels and pilaster capitals. The ornamental iron gate is by the E. Chanteloup workshop in Montreal. The building contains eight floors and has a height of including the clock tower.
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The castle guards the line of the former Roman road from Gloucester to Caerleon as it crosses from England into Wales.Creighton, p. 43. At the heart of the castle is an early Norman square keep of light grey sandstone, with Norman windows and pilaster buttresses.Pettifer, p.
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The building has been realized in the style of early, classic modernism. On the one hand, vertical elevations are highlighted as structural elements of the building by using strings loggias, balconies and bay windows. On the other hand, vertical divisions are highlighted using pilaster and friezes between windows.
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The nave is of three bays with pilaster buttresses. The chancel has two bays and a timber vault. The transepts have two gables externally, with large four-light windows. There is stained glass in windows to the east and west by Ward and Hughes, from the early 20th century.
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It survived the conquest of Toledo by the Christian armies in 1085, to be turned into a church in 1159. One of the most characteristic elements of the church is a Visigothic pilaster, with intricate relief carvings.Roger Collins, Spain, An Oxford Archaeological Guide, ed. Oxford University Press, 1998 , p.
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Thus it is known as a saptagarbha layana (seven cell dwelling). The veranda had two pillars and two pilasters with pot capitals of the Satakarni period (B.C. 90-A.D. 300), of which only the right broken pilaster and a trace of the base of the right pillar remain.
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Its mosque past is being represented by a funeral pilaster. During the 16th century its solid late Gothic head was added, with exterior buttresses that compensate for the considerable change in height, while its interior features a vault and palm arch ribs with honeycomb work in the transept naves.
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Avant-corps corners are pilaster-shaped. The top floor of front elevation has attic style balustrade. At the gable top is placed a lyre, symbolizing music and poetry, in relation with the cultural function of the building. Building interiors originally comprised a main concert hall and a ballroom.
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Uniquely, the temple's interior artwork was completed before its facade details, ceiling or floor. Its southern pillar and pilaster are the only ones which have been finished. The temple is an example of parallel construction by multiple artisans. The mandapa has three shrine cells connected to a central, trapezoidal hall.
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The bronze sculpture stands tall, and the total height of the monument is around . The monument is flanked by two square gate pillars, each topped by a seashell in bronze with the concave side facing upwards. Each pillar has its front decorated with a Doric pilaster. The gate pillars measure approximately .
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Each wall is divided by pilasters into four bays. The end bays are longer than the two center, and pilasters are located at each building corner. Windows, equidistant apart, are located within each bay. The center pilaster of the south facade has a brick chimney that services a basement furnace.
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This section is divided into three bays by four pilasters. A dentiled brick cornice runs across the pilaster tops. The central bay contains the entrance, consisting of the two slender doors topped by a transom and flanked by Corinthian pilasters. A row of Corinthian columns supporting a pediment fronts the entrance.
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Church of San Giuseppe San Giuseppe is a Roman Catholic church in Siena, Tuscany, Italy. The church was commissioned by the contrada dell'Onda and begun in 1521. Construction continued for the whole century. The façade, finished in 1653, is mostly in brickwork, with two superimposed orders divided by pilaster strips.
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Around the church are pilaster buttresses, and a corbelled frieze. The tower is in three stages. In the bottom stage is a west round-headed window and a north doorway. The middle stage contains two slots on each side, and the top stage two-light round- headed louvred bell openings.
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Original sections of flooring remain as do cast iron cross beams, shoes, joists, decorative grills, timber floor joists and the pilaster which carried the overhaul beam crane. A large sandstone block is located within the wall above and below each pair of joists. The original colour scheme is still visible.
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The keep was richly decorated with hangings and furnishings. Dating from the second quarter of the 12th century, it is Rochester Castle's dominant feature. It had a square plan, and measures externally with pilaster buttresses at each corner. The keep was built in the castle's southern corner, close to the curtain wall.
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It "is distinguished by its symmetrical massing and elaborate moldings. The five- bay central block, flanked by recessed three-bay wings, is centered by a segmentally curved pedimented portico with two fluted Doric columns and a fluted pilaster on each side." It was designed by architects Warren-Knight and Davis, Inc., of Birmingham.
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Generally speaking the lateral windows are kept in the same style as the original Renaissance main window, but the canopies above the pilaster, in the Gothic style, are an exception. The Renaissance style is also apparent in another window situated just above the Gothic portal of the Volflin house from the 16th century.
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Relief work of infantry men are displayed at the bottom of each pilaster. The lower section of the board displays oval plaques in each corner with relief work of an emu and a kangaroo. Additional relief work comprises a British lion and a kangaroo in the centre and cannons at each side.
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The John Gibbs House is a two-story, five-bay, Greek Revival with a low hip roof. It sits on a foundation finished with rounded cobblestones laid in horizontal rows. he center entrance is surrounded by a sidelight-and-pilaster front entranceway. The house has simple, six-over-six windows and a denticulated entablature.
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Each of the front gables features elaborate fretwork, and a colonnaded veranda adds a classical element. Pilaster strips appear at each corner of the house. The interior contains a front entrance, two parlors, and a dining room on the first floor. Two bedrooms, a bath, and a formal landing make up the second floor.
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The Corinthian order later became overwhelmingly popular in the Greco-Buddhist art of Gandhara, during the first centuries of our era. Various designs involving central palmettes with volutes are closer to the later Greek Corinthian anta or pilaster capital. Many such examples of Indo-Corinthian capitals can be found in the art of Gandhara.
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The Rogers Milk Plant Building is a historic commercial building at 216 West Birch in Rogers, Arkansas. It is an industrial three-story building, built out of concrete and steel. The floors are stepped, decreasing in size at each level. The exterior is painted concrete, with regularly spaced sash windows separated by pilaster-like projections.
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The original building is a two-story brick structure on a raised limestone basement designed in the Neoclassical style. It features broken pediment gable ends, stylized pilasters on the gable ends of the upper level, Palladian dormers, and corner pilaster capitals. The annex was designed in the Second Renaissance Revival style. It is also a two-story brick structure.
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The 14th-century stone carving in the chancel is "exquisite". This is to be found in the six-bay arcades, the window tracery, the stalls with canopies, the sedilia and piscina, and an Easter sepulchre. In the baptistry is a 15th-century font with an octagonal bowl. This is carried on pilaster shafts with four carved lions.
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There is an elaborate cornice and the walls resemble courses of travertine block work. Shallow pilasters divide the long walls, with a decorative frieze of small pointed arches running between them. Another frieze line sits further down the wall sections at door head height. Brass candelabras are attached to each pilaster in line with these lower friezes.
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Creighton and Higham, p. 41. Several early stone keeps had been built after the conquest, with somewhere between ten and fifteen in existence by 1100, and more followed in the 12th century until around 100 had been built by 1216.Hulme, p. 213. Typically these were four sided designs with the corners reinforced by pilaster buttresses.
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Triangular pediments decorate the rooflines on the Pitt and King Street facades, contrasting with an arched broken pediment surmounting the corner facade. The pilaster/column style on the corner bay also contrasts with the sides; the corner having squared pilasters and the main street elevations having rounded pilasters. The date 1878 is on the corner facade.
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At the west end of the church are pilaster buttresses, and a window under a pointed arch. The north wall of the nave also has three buttresses. The chancel is supported by buttresses, one on both the north and south walls, and two on the east wall. Also in the east wall is a window under a pointed arch.
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The earthquake of September 19, 2017, damaged the main temple. As archaeologists began repairing the damage, they were surprised to find a smaller, previously unknown temple inside, which presumably was dedicated to Tlaloc, the god of rain. Archaeologists discovered stucco-covered walls, a bench, and a pilaster, which may date to the Posclásico Medio period (A.D. 1150-1200).
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It has a stone hearth, black brick surround (giving way to red at the chimney). Its molded wooden surround and mantelpiece have square pilaster capitals below a frieze with a floral pattern. Both the living and dining rooms share molded baseboards and ceilings connected to the wall with a slight cavetto. The dining's room fireplace has been covered.
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At the level of the second floor of the house there is an external balcony with twisted iron railing. Two-storey house with a basement was built in the Art Nouveau style. This is clearly shown by the design of the parapet, the pilaster, and by the outlook of the windows and the lattice of balconies.
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The influence is very much Roman, and this can be seen by looking at the doors and windows of the tower. At the west doorway, pilaster strips run up the sides and continue over the head in an arch. Within this, there is an arched moulding springing from square imposts. These are decorated with vertical fluting.
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Along its sides, lined with shallow molded wood paneling, are shallow closets. In the northeast parlor, the tripartite window is similarly recessed and flanked by pilasters. The fireplace mantel has an inset molded panel, classical entablature and engaged Tuscan columns. On either side are the six-over-six windows with reeded pilaster finish and molded corner blocks.
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Estipite in the Basilica of la Vera Cruz in Caravaca de la Cruz, Region of Murcia, Spain. Parroquia Antigua in Salamanca, State of Guanajuato, Mexico. The estipite column is a type of column or pilaster typical of the Churrigueresque Baroque style of Spain and Spanish America used in the 18th century. It was introduced between 1720 and 1760.
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The First Congregational Church of Ovid is a frame Gothic Revival structure, in a modified T-plan. The original section measures by ; later additions increase the size. It has a gable roof and clapboard-covered walls with pilaster strips at the corners. The tall, three-stage two-story square tower topped with an octagonal belfry contains unique decorative touches.
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In the rest of the building is composed of decorative wood panels. It features fluted pilasters and square panels with flowers. The doorways are deeply recessed and feature a transom above a multi-paneled door. The framing is milled woodwork that creates the effect of a fluted pilaster, as well as decorative corner and side blocks.
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A stringcourse around the building sets off the third story and forms its window sills. The central section has six-over-six with a plain surround. On both second and third stories of the wings' south face they are flanked by narrower four-over-four sash. The frieze below the roof cornice has rosettes or patera atop each pilaster.
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The steel box girder weighs , of which is high-strength low-alloy steel. The girder has an octagonal shape and is made with thick steel plates. They are longitudinally stiffened by trapezoidal stiffeners supported by cross frames at most every . Two full bulkheads have been used for every pontoon pilaster, made from welded steel plates thick.
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The Martens is a historic apartment building located at Indianapolis, Indiana. It was built in 1900, and is a three-story, 19 bay wide, brick building. It has commercial storefronts on the first floor with Classical Revival style cast iron pilaster posts and supporting "I" beam framing. It features two- story projecting bays on the upper stories.
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It is topped by an octagonal cupola. The front facade has a fully pedimented gable above an entablature supported by four brick pilasters and two fluted Doric columns. The columns and inner pilaster demarcate a sheltered recess housing the main entrance. with The church was built by the membership, and retains much of its original form.
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In 1648 the Swedes pillaged and devastated the town and the monastery. Under Provost Athanasius Peitlhauser the monastery was rebuilt between 1657 and 1659. The monastery wings and the Church of the Assumption were renovated by Italian artists to their present form. The pilaster church was rebuilt after 1661, one of the first Baroque churches in the region.
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Rodwell, 1986, page 174; reprinted in Karkov, 1999, page 128 The position of openings in the tower makes use of this decoration by fitting within the triangles and pilaster strips. The use of stone enabled sturdy towers to be built in this period, but the availability of stone that could be easily quarried and carved enabled towers as at Earls Barton to be decorated in such a way. The limestone at Barnack was quarried extensively from Anglo-Saxon times and throughout the Middle Ages to build churches and cathedrals including Peterborough and Ely. It is evident that Anglo-Saxon churches with long and short work and pilaster strips are distributed throughout England where this type of limestone was available, and in East Anglia where the stone was transported.
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The anta is generally crowned by a stone block designed to spread the load from superstructure (entablature) it supports, called an "anta capitals" when it is structural, or sometimes "pilaster capital" if it is only decorative as often during the Roman period. In order not to protrude unduly from the wall, these anta capitals usually display a rather flat surface, so that the capital has more or less a brick-shaped structure overall. The anta capital can be more or less decorated depending on the artistic order it belongs to, with designs, at least in ancient Greek architecture, often quite different from the design of the column capitals it stands next to. This difference disappeared with Roman times, when anta or pilaster capitals have design very similar to those of the column capitals.
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The architecture of the interior is built with seriousness and severity. Gosławski used rhythm of Corinthian order pilaster. He incorporates semicircular arches in the interiors of the building as a leading compositing element in the central staircase. Although the Duma was allocating funds for technical specifications in the construction process, the development of the interior of the house was slow.
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The roof behind the pediment and the walls at the left of the facade are additions in the past years. The original facade, with some few renovations, is similar to that of the Italian High Renaissance churches. The facade is buttressed on the sides by pilaster mass terminated by urn-like decorations. A tower is found at the apex of the pediment.
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The chancel exhibits pilaster strip work, much disturbed and cut by Early English period windows, and has a close parallel at Bradford-on-Avon. The wall thickness of the chancel is 2 ft 8in, which is a typical Anglo-Saxon dimension. The church, with its Anglo-Saxon features, is of major importance to our understanding of the larger minsters in pre-conquest England.
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On her right side stands emperor John II Comnenus, represented in a garb embellished with precious stones. He holds a purse, symbol of an imperial donation to the church. his wife, the empress Irene of Hungary stands on the left side of the Virgin, wearing ceremonial garments and offering a document. Their eldest son Alexius Comnenus is represented on an adjacent pilaster.
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Ionic pilasters with fluted necks and intricately carved panels with a foliate motif above the middle support a stone lintel. The northernmost pilaster also includes the monogram of the building's original owner. The entrances themselves are topped by arched transoms with fans carved in the spandrels. A cornice with egg and dart molding above the lintel further sets off the upper stories.
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It rests on a stone foundation and exhibits Greek Revival elements in the door, window, pilaster and cornice detailing. It has two rooms lined with wainscot paneling. The building is historically significant for several reasons. It is one of the earliest known false-frame commercial buildings in Nebraska predating the majority of 19th century commercial buildings in Nebraska by nearly 20 years.
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The church is built in sandstone rubble with a stone slate roof. The plan consists of a west tower, a nave with clerestory, a north aisle and a chancel with a small chapel to the north. The tower, which dates from 1734, is of three stages with pilaster strips and a solid parapet. In the lower stage is a west window.
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Near the top of each window frame, there are molded labels on each pilaster. A entablature with dentils and a parapet runs above the tenth floor. The three westernmost bays on Ann Street are part of the 1894 annex. They are designed nearly identically to the rest of the facade, with minor differences in decorative detailing, and rise eleven stories instead of ten.
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The first floor has rusticated corner piers supporting pilaster strips which extend to the top of the building. Topping the front is a stone coping with a raised central parapet holding a name block inscribed "Dakota Block". The rear and sides of the building are constructed of common brick and are devoid of embellishment, save for a cast iron fire escape.
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Like the walls of the sarcophagus, these consisted of two long, unbroken sections with smaller sections inserted between them at the ends. These sections were mortised, so that all four sections appear to meet at the corners. A slightly larger light grey granite base flared out above the pilaster section. Unlike the lower section, longer sections were sandwiched between the end sections.
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The asymmetrical facade is broken up by centered bay flanked by pilaster-like structures and topped by wall dormers. The canted bay at the corner of the building, located closest to the Garrison Church, is tiooed by a characteristic cloper-clad spire. The rear side of the building stands in blank brick with dressed ground floor. The workshop building is topped by cantacles.
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The church brick façade has one large portal with three windows. The recessed arched entrance is flanked by a pair of rectangular pilaster dividing the façade into three well-defined planes. The whole facade is then framed on the sides by heavy circular buttresses topped by urn-like finials. An open pediment in the upper façade is topped by a small cupola.
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Each opening is topped by a dentil course. Stylized fluted pilasters (attached columns) divide the window bays and are a classical feature. The pilaster capitals, however, contain a simplified floral design characteristic of Art Deco architecture. The entrances on the Sixth Street elevation are flanked by fluted pilasters with carved limestone capitals featuring a stylized eagle motif, which alludes to the federal presence.
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The church consists of a Late Romanesque apse, chancel and nave and a Gothic tower and porch, all built of brick. Pilaster strips decorate the corners of the nave and chancel. The apse and chancel have a rounded foundation base. There is a three-sided wall at the east end of the apse while there are round-arched windows in the side walls.
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On either side of the three, a section of cornice and plain frieze coincides with the arches' springline to suggest the top of a pilaster. Above the windows is another wide plain frieze. Just below it, in the northernmost bay of the east, is a group of three small windows. The roofline has a denticulated pressed-tin cornice below broad overhanging eaves.
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Flat arched windows are double- sashed and contain either 6/6 or 4/4 panels and are set back from the exterior wall. A central door surrounded by a fanlight and side panels rest in the middle of the building. To either side of the door is a window and an unadorned pilaster. A double panel window lights either side of the building.
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In the courtyard, the passageway features arches decorated with diamond-shaped stone. They rest on large scrolled consoles, whose fronts are decorated with grotesque masks of different design. On the side, the rolls of the scrolls engender plant pods and cloves. Each console is borne upon a lion foot standing on a section of pilaster capped underneath with a magnificent rose.
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An opening on the ground floor has been converted to a doorway. A pilaster of vermiculated quoins runs down the northern end of the facade. A frieze and dentilled cornice extend across the building and are surmounted by two simple triangular pediments with scroll-like brackets to each side. The rear elevation had a circular opening and four rectangular ones, all of which have been blocked up.
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The decorative parapet, shaped to conceal the roof behind, consists of two peripheral bays and a central bay. The junctions between each of these bays is marked by an implied pilaster which protrudes above the remainder of the parapet. The lower peripheral bays slope up to a raised central bay; a rectangular panel which carries the name of the store. Mouldings are used to emphasise the composition.
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Whitescarver Hall is a historic dormitory building located on the campus of Alderson Broaddus University at Philippi, Barbour County, West Virginia, United States. It was built in 1911-1912, and is a three-story white brick building in the Neoclassical style. It measures 40 feet by 90 feet. It features a hipped roof covered in red tile and four classical pilaster topped with Ionic order capitals.
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Its lower level, the mezzanine, is faced in concrete and divided into three sections divided by square pilasters. All have a recessed triple casement window; that in the central portion is flanked by two similar double windows. Traffic lights are mounted on the west side and western portion of the central section below window level. At the top of each pilaster is a mosaic tile.
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At the second floor and above the walls are of rock-faced stone, with alternating courses of wide and narrow stones. Although the third floor double-hung windows are round-arched, their heads are Gothic-arched, with rock-faced voussoirs and ornate springers. Four pilasters are located on the facade, at each corner and flanking the central pavilion. The roofline has stone pinnacles above each pilaster.
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The whole northern part was heated. The villa was luxuriously decorated, to which testify the marble columns, basis and capitals of different sizes, reliefs on pilaster capitals and parapet slabs, the remains of wall covering of expensive, multicoloured marble, frescoes, etc. The mosaic floors that covered the whole of the peristyle porch (450 m²) and the audience room have been well preserved. The porch mosaics are geometrical.
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Paddington Tramways Substation (white building, centre), circa 1942 The former tramway substation is a rendered masonry building with a flat concrete roof behind a parapet wall. It is situated prominently adjacent to the intersection of Latrobe and Enoggera Terraces. The symmetrical facades demonstrate a classical influence in their design. The building has corner pilasters with the longer north and south elevations having a central pilaster.
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In 1987, to restore the original décor, the theatre was once again refurbished, this time by Carl Toms. The theatre has a circular entrance foyer, with Grinling's bronze frieze depicting nude figures in exercise poses, the theme continues into the main foyer, with dancing nudes, marble pilaster up lighters and concealed lighting. English Heritage notes: The theatre was Grade II listed in January 1999.
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A round-arched window and lintel flanked either side of the main entrance, while a full height pilaster was located at each corner. One observer in 1873 said that the chapel was a "plain but handsome brick building, without any cupola or belfry." The walls were repainted that year, with decorative elements resembling panels and pilasters. The chapel's bell tower and stained glass date to 1883.
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The upper stories feature arched windows capped by pediments and a pilaster supporting the cornice atop the building. The building includes a grand ballroom, banquet room, and restaurant and bar. The club played an important role in Chicago's German-American community, once the largest ethnic community in Chicago. The Germania Club Building was added to the National Register of Historic Places on October 22, 1976.
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The black servant's dress is richer, a white cap and pink neckerchief, and a green buttoned velvet coat with a yellow waistcoat. Trump wears Graham's wig. The colours of the painting are mostly of cool greys, blues and reds, with the brown of some of the clothes and the wooden pilaster panelling, and the lighter blue through the window on the left of the painting.
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Top of main portal Cryptic inscription on façade Church interior The first pilaster has an ancient degraded fresco of Saint Lucy. The pulpit is carved with scenes from both the Old and New Testaments, and two support columns have lion bases. One of the scenes is an Annunciation, another the Nativity. A polychrome wood statue of the patron saint, Saint Christopher (Cristofano), stands behind the main altar.
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The church, an impressive monument of the Counter-Reformation, is one of the early churches of Styria that uses the pilaster style later magnificently developed in the Carlone churches of the Frauenberg Sanctuary of Admont Abbey, Schlierbach and Garsten. It is assumed despite lack of archival evidence that this important building in Leoben dates back to Pietro Francesco Carlone, whose father had already settled in Leoben.
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Three similar, but less dramatic mounds around the main motte provide the basic structure for the castle defences.Mackenzie, p.131. The remains of the tall, four-storey rectangular great keep are still standing on the north side of the motte. In large part this a typical late Norman keep, wide, similar to those locally at Alberbury, Bridgnorth and Hopton, featuring pilaster buttresses and round- headed Norman windows.
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Wildfire then calls for the probosci, which is a "silver wire… attached to the metallic pilaster above [them]," and clasps the small hook on the end of the wire to Hoffle's nose before drawing the nostrils up.Bolokitten, p. 38 Bolokitten emphasizes the importance of nose hairs before saying that Mr. Dashey has none. Wildfire discovers this and becomes angry, and his tantrum reminds Bolokitten of Jim Crow.
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The front porch of the house wraps around both sides, each of which has an additional column and a pilaster. The cornice and front pediment are both dentillated. James Patterson, owner of the Illinois Iron Works, purchased the house in 1854; Patterson may have added the iron porch railing. The house was added to the National Register of Historic Places on May 28, 1980.
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Cantilevered showcase boxes project from both the east furrowed redwood pailings and west exposed red brick walls frame the open air lobby. The red brick floor is set in mortar in a basket weave pattern. The front random laid exposed motor washed bricks create a pilaster. The original letter-forms neon sign is perched atop the extended roof system above the open display lobby.
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Moulded triangular pediments top the second floor windows. The top of each pilaster consists of a shamrock crest, positioned directly below a dentilled cornice. Above the projecting cornice, the pilasters are extended with recessed panels between them to form a decorative parapet. The recessed panels are infilled with masonry circles that shape the initials TCB and all the panels are topped with a flat moulded capping.
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The first floor, being the piano nobile, is distinguished by windows taller than those of the floors above and below. Each window is divided from its neighbour by a pilaster. The repetitive monotony of the long elevations is broken only by symmetrically placed slightly projecting bays, many with their own small portico. This theme has been constant during all subsequent rebuilding and alterations to the palace.
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The structure is strictly symmetrical, with an order applied to each story, mostly in pilaster form. The frontispiece, crowned with a separate aggrandized roof, is infused with remarkable plasticity and the whole ensemble reads like a three-dimensional whole. Mansart's structures are stripped of overblown decorative effects, so typical of contemporary Rome. Italian Baroque influence is muted and relegated to the field of decorative ornamentation.
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In the south transept stood the tabernacle in a niche topped by a pediment and flanked by two pilasters – each pilaster on a pedestal on either side of it. This was the Blessed Sacrament Chapel. It takes the place of what was originally the Chapel of Saint Joseph. On the wall to the left of the tabernacle is a memorial plaque to Father Jean-Marie Beurel.
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It is two stories in height. A single-bay clipped corner entrance divides two street facades, 12 bays on the Galena frontage and 10 on Hopkins. Two full-height pilasters separate the corner bay and the two-bay portions on either side. Along Hopkins the next section is a single bay, then two each in the next three sections and another pilaster at the corner.
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The present church was rebuilt in Neoclassical style between 1841 and 1853, and served as the parish church of the lower town, Porto Civitanova. Restored in the 1990s, the facade has statues of both St Peter and St Marone on the second story. The brick frontage has elegant portals and ionic pilaster capitals in white stone. The main altar has a canvas depicting the Vergine della Misericordia.
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Henry Straus developed his invention because of his love of Thoroughbred racing. With wealth from his business success, he became an owner of racehorses and would acquire the Tropical Park Race Track in Coral Gables, Florida which he owned at the time of his death. Among his best horses was Pilaster, a winner of a number of stakes races including the Pimlico Cup and Miami Beach Handicap.
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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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San Nicola is mentioned for the first time, together with the annexed convent, in 1097. In 1297-1313 the Augustinians enlarged it, perhaps under design by Giovanni Pisano (eastern side). In the 17th century the edifice was restored with the addition of altars and the Sacrament Chapel by Matteo Nigetti (1614). The façade features pilaster strips, blind arches and lozenges, and is decorated with 12th century intarsia.
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The rear area is characterized by three high apses, the central only slightly larger. Only the northern one has maintained the original decoration with pilaster strips and small arches. On the western side is the cylindrical tower which replaced the second square tower, crumbled in an unknown date. On the same side a forepart was added in the 13th-14th centuries with an ogival entrance.
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Around the apsidal chancel are round-headed blind arcades in pairs, in some places pierced by lancets. Between the arcades are pilaster buttresses. The east window has a pointed arch, and two lights with Y-tracery. The north wall contains a blocked round-headed window pierced with a lancet, which is also blocked, a single-light window, and a two-light window with Y-tracery.
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Above the awning, the facade is symmetrically arranged, with central and end pilasters. Within the bays on either side of the central pilaster are pairs of semi circular arched windows. Above this section is a panel running the width of the building with the words UNITED BROTHERS LODGE in relief. This is capped with a stone entablature below a parapet featuring an open circular pattern.
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At the corners are clasping pilaster-straps, and the plain parapet is further set back. The bottom stage contains an arched west doorway, above which is a pair of lancet windows. Five steps lead up to the doorway, with a wrought iron handrail on the left side. The handrail was designed by Brian Rourke in 1979 and is decorated with representations of the local industry.
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The side walls are divided into five bays of equal width by the pilaster masses. Bays 1 through 4 are punctured by attenuated, circular-arch, glazed windows of Gothic proportions, and the transept is located at bay 5. All interior walls are free of ornamentation.Mariano G. Coronas Castro, Certifying Official; Felix Julian del Campo, State Historian; and Hector Santiago, State Historian, Puerto Rico Historic Preservation Office.
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The same architect proposed two solutions for the design of San Lorenzo in Florence: an angular triglyph or an axial triglyph followed by a reduced metope. See Morresi, Jacopo Sansovino, pp. 451–453 (note 139 for bibliographical references). Sansovino's solution was to lengthen the end of the frieze by placing a final pilaster on a wider pier, thus creating the space necessary for a perfect half metope.
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Adjoining Watson Brothers Building in Margaret Street, the Acme Engineering Works is a single-storeyed brick workshop with an early galvanised iron extension at the rear. The front freestyle facade is symmetrical around a wide central opening with flanking arched double-hung sash windows. All three openings in the front facade currently have individual canvas awnings. At each edge of the facade a pilaster extends up to the parapet.
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Listing Reference Number 87001310. August 4, 1987. The most continuous side of the E-shaped structure constitutes the front facade; it is articulated to best reflect and express the internal organization in plan. Sophisticated neoclassical details, although integral to the building's public "face", are not used with such insistence anywhere else on the building, except for the lobby, which includes some mouldings, cornices and relatively simple pilaster inlays.
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The Baroque's influence is manifested immediately on the museum's rounded corners, typical of these residence types in Ponce. The corner is framed by two rusticated pilasters and divided into three bays, by two pilaster strips or lesenes. Each bay contains a wooden movable louvreed window with glass inlets at its top, and a floral relief motif over the fenestration. The rest of the wall is decorated with floral garlands.
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The central entrance arch cuts the podium and houses intricately carved hardwood doors and a stained-glass fanlight protected by decorative wrought iron railings. Bays 1 and 3 both consist of paired arches, located above the podium and articulated in an ionic pilaster order. Each arch-window houses folding jalousie shutters. At the upper level there are four Ionic pilasters with pedestals resting on a continuous horizontal string-course.
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The classical orders are in pilaster form except around the central doorways. On the exterior, the lower floor is in the Tuscan order, with the pilasters "blocked" by continuing the heavy rustication across them, while the upper storey uses the Ionic order, with elaborately pedimented lower windows below round windows. Both main façades emphasize the portals, made of stone from the Sierra Elvira. The circular patio has also two levels.
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During the restoration in 1953, the team led by Professor Franco Milani found some frescoes dating to the fifteenth century. On the left wall there are depictions of Pope Fabian and Saint Sebastian, while on the right side there are depictions of Saint Ambrose, Marcellina and Satyr. These frescoes were damaged by moisture and covered with layers of lime. The damage was also observed to undermine the pilaster.
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The gateway is a free-standing rendered masonry archway with a pair of wrought iron gates below. The archway has an elliptical arch with scored voussoirs, a coved cornice and scored pilasters to either side. "Their name liveth for ever" stands in relief on the cornice, with the dates "1914" and "1919" on each pilaster. The ironwork of the gates includes the words "Soldiers Memorial Gate of Honour".
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The church is constructed in sandstone with a stone slate roof, and is in Early English style. Its plan consists of a nave with a short chancel and a tower at the west end. The roof is steeply pitched and divided into three, although internally the church consists of a single chamber with a flat ceiling. The nave is divided into bays by pilaster buttresses, between which are lancet windows.
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To the front, the exterior has a symmetrical, eleven-bay Italianate facade, with vermiculated quoins at ground floor level and pilaster quoins to the first floor. The central bay of the building breaks forward. On top of this bay is an elaborate square tower with pyramidal ashlar roof. Each side of the tower has a modillioned segmental pediment on an enriched entablature, supported by Corinthian columns, framing slender, round-arched windows.
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At the east end, within the former chancel arch, is a three-light square-headed window, and above this are two lancet windows. In the north wall of the chancel is a 12th-century single-light window. To the west of this is a blocked door dating from the same period. Also in the north wall is a Anglo-Saxon pilaster strip made in Binstead stone from the Isle of Wight.
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It is a rectangular Italianate structure built of yellow brick designed by architect H. Neill Wilson, and features a central pilaster-supported triangular pediment. Smith House is built of the same materials, but with Colonial Revival styling. A dormitory built at the same time has not survived. South of Smith House on the west side of Church Street are three private residences, all built in either 1896 or 1897.
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The five-story building where Marks & Co. was located during the events of the book still exists . A circular brass plaque on a pilaster on the street frontage acknowledges the story and marks the site. The premises were occupied by a music and CD shop in the early 1990s, and later other retail outlets. In 2009 they housed a Med Kitchen restaurant; and now form part of a McDonald's restaurant.
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The building was designed in Neoclassical style by Nashville architects Asmus and Clark. The structure is basically a cube, faced with engaged Ionic columns, pilaster and cornice, set above a massive base. The roof structure is in the form of a Greek temple, demonstrating the ability of Beaux-arts architects of the period to employ classicism in innovative ways. Asmus also designed the Home for Aged Masons, built in 1913.
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The Caleb Everts House is located in a farmstead consisting of the house with a carriage shed, two barns, a granary, chicken coop, and various other outbuildings. The house is a large Greek Revival structure, covered in clapboard, with several wings. The exterior is plain, with pilaster strips on the two-story, end-gabled main block. A porch across the front is supported by square posts, as is a side porch.
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The north block is primarily a 14th-century addition to the castle, built over the remains of one of the circular towers and the old postern gate. It comprises three distinct buildings, the largest being a three-storey residential tower. The block has a distinctive octagonal chimney with a carved top. The hall block is a pilaster- buttressed, two-storey building, across, with the floors originally linked by a spiral staircase.
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The frontage measured wide and had four columns which measured in diameter by high. The columns were topped with Grecian pilasters and supported a pediment. The lower part of the three spaces between the four pillars were filled with wide arches, with the entrance doors topped with fanlights below them. The building had staircases on each side, lit by semi-circular headed windows between the outer columns and the pilaster.
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The frame section had a porch on the north side that extended part-way into the stone side. The interior of the stone section is mainly intact, though much of the plaster has been lost. The first floor of the stone section appears to have been divided lengthways into two long, narrow rooms, with a finished attic above. The room on the track side has built-in cupboards and pilaster trim.
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Le Vau would never use them again. The overall effect at Vaux, according to Andrew Ayers, is "somewhat disparate and disorderly". Moreover, as David Hanser points out, Le Vau's elevation violates several rules of pure classical architecture. One of the most egregious is the use of two, rather than three, bays in the lateral pavilions, resulting in the uncomfortable placement of the pediments directly over the central pilaster.
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Spiral fluted columns in the Great Colonnade at Apamea in Syria Vertical fluting on Doric order columns Fluting in architecture consists of shallow grooves running along a surface. The term typically refers to the grooves running vertically on a column shaft or a pilaster, but need not necessarily be restricted to those two applications. If the hollowing out of material meets in a point, the point is called an arris.
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The building is constructed in brick, rendered at the front, and it has a grey slate roof. It is in three storeys and has six bays. On the street level, the third bay from the south has a projecting entrance porch. On each side of its arched doorway is a pilaster, and above the doorway is a broken pediment, over which is a frieze inscribed with ODDFELLOWS HALL.
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The Altar of Forgiveness The Altar of Forgiveness () is located at the front of the central nave. It is the first aspect of the interior that is seen upon entering the cathedral. It was the work of Spanish architect Jerónimo Balbás, and represents the first use of the estípite column (an inverted triangle-shaped pilaster) in the Americas. There are two stories about how the name of this altar came about.
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The frieze is supported by a stylized Doric crenelated brick pilaster. The second floor facade has verandahs supported by a projection of brick cornices with ornamental ironwork fern design ledge. The doors are topped by corniced rain-stopper. On October 17, 2003, the late Archbishop Legaspi opened the Bishop Domingo Collantes Library with a 30,000-book collection and can sit 100 readers in its 280 sq. m. hall.
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The Renaissance ideal of harmony gave way to freer and more imaginative rhythms. The best known architect associated with the Mannerist style, and a pioneer at the Laurentian Library, was Michelangelo (1475–1564). He is credited with inventing the giant order, a large pilaster that stretches from the bottom to the top of a façade. He used this in his design for the Piazza del Campidoglio in Rome.
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On the left is the dining room, with the greatest amount of detail of any room in the building. It has a flat baseboard with similar chair rail and picture molding. The brick of the chimney breast projects into the room space, echoing the brick of the hearth below. Above it is a Federal style mantel where flat pilaster rise to a plain frieze topped by a molded shelf.
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Above, a tablet with pilaster surround with the arms of James I, and above again, two two-light mullioned windows. Over them, there is a stepped gable containing a clock. On either side of the main arch there are two walkway arches, those to the right original, with hoodmoulds. The North side has a plainer central arch, flanked by a single walkway arch to left and two to the right.
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The archeological excavations revealed the lack of a continuous platform under the building which foundations are directly on rock. The Basilica was a martyrial sanctuary: an inscription on the pilaster at the north-east corner of the apse says: "martyrion [...] of the Precursor and the Protomartyr", that are Saint John Baptist and Saint Stephen.D. K. Kouymjian, Ereroukj basilikaji patmoutian hetkerov (Le traccie storiche della basilica di Ererouk), vol.
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The wall surfaces have pilaster pairs supporting chaitya-style arches. The entrance door features a Shaiva dvarapala (guardian) on each side. Sculptures of Ardhanariswara (half-Shiva, half-Parvati) and Lakulisha are carved into the northern wall of the temple mantapa, but these have been damaged and defaced. The kapota (cornice) are decorated with motifs and carved with ganas (playful dwarfs) carrying garlands; brackets show flying couples and kirtimukhas.
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The building is framed by curvilinear gables at the northern and southern ends of the parapet. The ground floor has three arches to the central section, with rendered rusticated columns and squared Corinthian pilaster decoration. The central arches open to an entrance portico accessed via wide steps. The first floor is composed similarly, with three central arches with decorative motif to the centre of the arch and a crowning triangular pediment.
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The building in the Art Nouveau style is nearly square with outer measurements of 25,39 × 25,05m. The height to the finishing cornice is 14,91m and to the rooftop 17,50m. It has three tiers, whereby the lower two tiers are separated from the upper tier by a molded cornice. The front facade shows six pilaster; the pilasters and the cornice are painted white with the main walls are painted in green.
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It is 3-1/2 stories tall, with a half-story basement level. The facade has a central section, containing the entrance and two flanking windows, which projects slightly from the main section of the building. The entrance is set in a pilaster with a segmental pediment wood frame. Building two forms a long undulating line behind the southwest corner of building one, extending almost to the river.
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The hotel is restored to its 1930s colonial appearance. The building is painted beige with mahogany brown windows and roof. At the front of the hotel are beige painted pilasters leading into the reception. The lobby is similarly painted in beige/cream with a grand chandelier on the ceiling, light brown marble floor with two large pilaster supporting the roof towards the end in front of the staircase.
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The church was originally turriform: the ground floor of the tower served as the nave.Ernest Arthur Fisher, An Introduction to Anglo-Saxon Architecture and Sculpture, London: Faber, 1959, OCLC 1279628, p. 57. The tower shows typical features of Saxon architecture: walls of rendered rubble, with decorative pilaster strip work, and long and short work.Timothy Darvill et al, England: an Oxford archaeological guide to sites from earliest times to AD 1600, p.
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The French sense of arabesque:Savonnerie carpet after Charles Le Brun for the Grande Galerie of the Louvre What is called the "Arabesque Room" in the 221x221px Arabesque is a French term derived from the Italian word arabesco, meaning "in the Arabic style". The term was first used in Italian, where rabeschi was used in the 16th century as a term for "pilaster ornaments featuring acanthus decoration",Osborne, 34 specifically "running scrolls" that ran vertically up a panel or pilaster, rather than horizontally along a frieze.Fuhring, 159 The book Opera nuova che insegna a le donne a cuscire … laqual e intitolata Esempio di raccammi (A New Work that Teaches Women how to Sew … Entitled "Samples of Embroidery"), published in Venice in 1530, includes "groppi moreschi e rabeschi", Moorish knots and arabesques.Met Museum; the Italian word uses the Latin derived "inceptive" or "inchoative" word ending "-esco" signifying a beginning, thus ferveo, to boil and fervesco to begin to boil.
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The castle grounds are located along Wolfenbütteler Straße ("Wolfenbüttel Street") in the city district of Heidberg-Melverode. The building is built in Baroque style, and has a square floor plan with the entrance at one corner. The state rooms are located on the diagonal, and on either side of these, there are private rooms and a mezzanine floor. The facade is divided into pedestal, pilaster, and entablature areas, with a balustrade parapet.
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The present church was built in the Romanesque and Renaissance styles. The church had a two-story roof in combination with west facade and thus created the impression of a three-nave church. Here there is no dome but its decorations include 124 blind arcades, pilaster strips and trefoil.Pirotski zbornik , Language: Serbian, 2004/2005, no. 29-30, UDK 902(497.11), Arhitektura crkve, page 122 The founder of this church was Nicetas of Remesiana (338–420).
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Panels between the pilaster capitals are decorated with festoons. The frieze features paired rosettes at each end framing the name "REGENT BVILDING" lettered across its centre. An exaggerated cornice supported on closely spaced brackets projects over the frieze and is roofed with terracotta-style tiles presenting small, semi-circular profiles to the street. Topping the building is a parapet, which combines solid sections corresponding to the pilasters below and intervening open sections of Italianate balusters.
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This rectangular burial chamber is constructed of brick, with an opus reticulatum podium on three sides. The podium does not cross the eastern wall, where instead a small staircase resting on two arches is located. The niches along this wall would have been the first ones visitors would see upon entrance to the columbarium. The floor measures approximately 6 meters below the surface, and ceiling would have been supported by a large central pilaster.
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In the nave there used to be a set of six Italian Trecento pilaster panel paintings, painted in about 1365–70 and attributed to Jacopo di Cione and his workshop. Each depicts a different Christian figure: the evangelists John and Luke, the monks Anthony the Great and Peter Damian, and two members of the Camaldolese order: Beata Paola (died 1368) and Bruno Bonifacio. How they came to be at the church is not known.
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The side wing walls are terminated by a pilaster with a decorative cap. The north wall which has a pair of vertical timber doors, acts purely as a screen wall with no building behind. The south wall has a 6:4 pane timber vertical sliding sash window and a timber door giving access to a store room. The first storey facade, set between 2 pilasters with decorative caps, is based on the Dutch gable style.
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The Neoclassical Revival elements include full height entry porch that is supported by paired fluted columns in the Corinthian order. They support a plain entablature and triangular pediment. Other Neoclassical elements include the second story porch treatment, architrave window trim, and fluted pilaster corner boards. The Colonial Revival elements are found in the Palladian windows located in the gable ends, the lunette in the porch pediment, and the scalloped brackets under the eaves.
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Marble panels are fixed between each pilaster; two have projecting marble basins and one is inscribed with the words "Erected to the Memory of James Nash, who discovered the Gympie goldfield, 16th October 1867. Born at Beanacre, Wiltshire, England, 5th September 1834. Died at Gympie 5th October 1913." West of the bandstand is a "Peace Pole" memorial that has one plaque attached to a decorated timber pole and another on a rock at its base.
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Her left, pointing down to the ground, holds a shield on edge. The lance rests on a column, which connects directly to the left pilaster. A snake winds around the lance and column, with its lower end reaching along the ground to Athena's feet. The head and mane of a bridled horse can be seen above the shield and left arm of the goddess and its hindquarters disappear behind her right arm.
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Other prominent design elements in the interior of the building including decorative pedimented pilaster moldings around the windows and Egyptian marble fireplaces in the first floor parlor and dining room. The first floor window surrounds/casings are canted, with decorative wood paneling covering the brick walls underneath. The doorways going into the first floor rooms from the central hallway also have pedimented pilasters. The rest of the interior spaces are less ornate.
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The aqueduct is a stone masonry structure with a waterway of 19 feet at the bottom and 20 feet at the top. The towpath parapet wall is 8 feet wide and the upstream wall is 6 feet wide. Benjamin Wright, the project's chief engineer, drew the plans with 6 piers, 2 abutments and 7 arches, each with a span of 54 feet. The piers are 10 feet thick with a pilaster at each end.
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This difference with the column capitals disappeared with Roman times, when anta or pilaster capitals have designs very similar to those of the column capitals.The Classical Language of Architecture by John Summerson, p.47 "Anta" entry The Ionic anta capitals as can be seen in the Ionic order temple of the Erechtheion (circa 410 BCE), are characteristically rectangular Ionic anta capitals, with extensive bands of floral patterns in prolongation of adjoining friezes.
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On both stories the windows are set in pedimented surrounds flanked by louvered wooden shutters. They are set with two-over-two double-hung sash windows. There is a verandah across the west front with a return on the south side of the house, both having a flat roof supported by eight square columns with chamfered corners, square capitals and rectangular bases. North of the main entrance, on the facade, is a similar pilaster.
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The front facade features four wide, wooden Doric order pilaster, and two round Doric order columns each set at the frontt edge of the recessed portico. During the American Civil War the church served both Union and Confederate soldiers and it was in this building that Clara Barton came to nurse the wounded after the Battle of Fredericksburg in 1862. and Accompanying photo It was listed on the National Register of Historic Places in 1984.
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For the pilaster showing a man in Greek dress :File:ButkaraPilaster.jpg. Various reliefs at the same location show Indo-Scythians with their characteristic tunics and pointed hoods within a Buddhist context, and side-by-side with reliefs of standing Buddhas.Facenna, "Sculptures from the sacred area of Butkara I", plate CCCLXXI. The relief is this one, showing Indo-Scythians dancing and reveling, with on the back side a relief of a standing Buddha (not shown).
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The rectangular courthouse is constructed of locally quarried stone and rises two- stories on top of a full ground floor. The long arched windows line the facade, three on the front and nine on the sides and are separated by a pair of Doric pilasters. The main entrance is flanked by an inner Corinthian column and an outer Corinthian pilaster. The door is located inside a recessed portico and is topped by a fanlight.
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It boasts an ornate pressed metal cornice with a pediment reading "1868 REBUILT 1884". At the north end of this row is 425 River Street, a narrower 1892 five-story building showing later influences, with a corbeled brick cornice and molded pediment. The top floor windows are arched; a brick pilaster comes up from beneath to create a rounded arcade. A decorative brick course as well as molded string runs around the building.
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Plaster walls are decorated with marble baseboards and wainscoting and iron grilles featuring a square-and-x motif are located above postal boxes on some walls. The plaster ceiling is crowned by a molded cornice with dentils. The elevator lobby also features terrazzo flooring and decorative cast-iron elevator enclosures. A marble staircase that connects the second and third levels has a scrolled, cast-iron balustrade that terminates in a floral-motif pilaster.
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The west wall has considerable amounts of re-used stone. The vestry on the south side has square-headed doorway, and the east side has a window in a similar style. The porch is in roughcast render on the wall faces, and pilaster buttresses at the four corners with a blind arcaded window in Romanesque revival style. The Romanesque-style doorway is in terracotta and brick, with eaves courses in the same material.
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The Palace is located almost at the site center. The ceremonial building preserves the architectural style of the place, recessed stairways and stuccoed stone. It was identified as a palace, because at the top were found wooden pilaster elements at the entrance, as well as stone foundations and smokers, these depict religious activity. It has two bodies, covered with a wall of stone slabs and a central stairway case to the west.
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Along the nave are medallion bas-reliefs by Giovanni Battista Bernero. The oratory, located to the right of the facade, is mainly used for concerts and theatrical performances. On the outer (street- side) pilaster of the oratory facade, nearly three-quarters towards the top, is a cannonball embedded in the wall during the French siege of Turin in 1799. The oratory was designed by Antonio Bettini, although likely inspired by a prior design by Jurvarra.
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The fifth level windows are set in pairs in Romanesque arches, an echo of the Romanesque entrance arch to City Hall on Pine Street. The single window in the corner bay has a round-arch top. The arches are outlined in terra cotta, as are the pilaster-like piers which separate the window pairs. After another granite string course, the top level has the paired windows set in double arches, also outlined in terra cotta.
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Decorative patterned reliefs sit below each window. The building is topped with a parapet that has a course of dentils between courses of stepped brick. The center part of the parapet is raised, and flanked by a short, capped column pieces. The northern bay is visually separated from the others by a pilaster stretching the entire height of the building, and was formerly left unpainted, suggesting it may have been built at another time.
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Fondazione Conservatori Riuniti Siena. During the 19th-century it served as a school for young women, called the Royal Conservatorio Riuniti, because it was joined to the adjacent Conservatory of Mary Magdalen. In 1660, Pope Alexander VII (a Chigi) commissioned from Benedetto Giovannelli the design and construction of a new white marble façade. The church facade has the correct superimposition of orders in the pilaster capitals: with doric, ionic, and finally corinthian.
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In its lower storey is a square-headed three-light window, above this is a small window with a brick surround, and in the gable is a sundial. To the west of the transept is a porch, continuous with the transept, with a pilaster buttress at the junction. Above the entrance to the porch is an arched recess, and at its west corner is a diagonal buttress. Inside the porch is the original seating.
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It is located between two of the chapels on a pilaster strip. In the third chapel on the right there is a canvas depicting the Adoration of Magi (1533) by Bernardino Lanino. In the fourth chapel, the altarpiece depicting St Michael defeating Satan by Guglielmo Caccia, also called Il Moncalvo. In the counterfacade there are two tempera canvases (1545) depicting Our Lady of the Annunciation and Archangel Gabriel, attributed to the Vigevanese painter Bernardino Ferrari.
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To the right of the pilaster strip is a red-framed pinax of two birds with cherries and mirabelles. The upper zone is divided by ornamental borders into symmetrical panels accented with floral tendrils. Border designs on what remains of the painting on the remaining walls have a different pattern from the north wall. A small preserved panel to the right of the doorway on the east wall contains a yellow dolphin.
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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.
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A later consecration dates to 1674, and refurbishment to 1762.Le chiese di Napoli, Volume 1, by Luigi Catalani, Naples (1845): page 99. The façade has three arcades surmounted by four pilaster strips in Tuscan order. The interior has a single nave with five side arcades: the decoration, with the exception of the five chapels, was finished by Luca Giordano (also author of the Saints over the windows of the dome) in 1679.
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The pilaster- mounted sconces were reinstalled on the side panels at the suggestion of Henry Francis du Pont, who chaired the Fine Arts Committee for the White House. Boudin and du Pont were in agreement that the 1952 mantel should be replaced. Boudin designed a replacement mantel, but du Pont wanted the original 1902 "Buffalo mantel" and asked the Truman presidential library to return it. The library declined, so a reproduction "Buffalo mantel" was made and installed.
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One fragment is a Romananesque head with curled hair, an indication of a moustache and beard, possibly crowned with a diadem. The others are capitals, the topmost member of a column (or pilaster), and are variously decorated, often with leaves of different kinds. Portion of the ruins of Louth Park Abbey in 1873. In 1850, an arch was found in nearby field, and incorporated in St. Margaret's Church, Keddington, as part of the pipe organ chamber.
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A banded brick pilaster, similar to the corner quoins, rises at the center of the facade. The ground floor is used for commercial purposes, while the second floor houses apartments. The third floor is open, and was probably used as a storage area when the building housed a general store. with The block was built about 1885 for William Billado, an immigrant from Canada who had established a general store in the village after moving there in 1876.
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It contains a painting depicting the Parable of the Convict (1668) by Jacopo Ferrari, and on the walls two canvases (1674-1675) by Pietro Galli. The 18th- century main altar was designed by Giovanni Paolo Panini and completed by Giovanni Maria Bignetti in 1741. The third altar on the left has a painting depicting the Miracle of San Fiorenzo (1741) by Marco Benefial. The central pilaster have fragments of frescoes from 1520 and earlier depicting the Madonna.
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Preston Deanery Church of Saints Peter and PaulThe church was dedicated to St Peter circa 1200, then St Peter and St Paul c.1415. It was a parish church for what was at the time a much larger and later abandoned village. The church is now redundant but cared for by the Churches Conservation Trust. It has a 12th- century west tower with a central pilaster-buttress on each face, a single nave, and a square-ended chancel.
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The chapter room has nine spans and four pilaster, and is used for meetings. The church can be accessed from the cloister. It has a basilica plan with a nave and two aisles; the façade has a large external portico, while behind the altar is the choir, added in 1954 and made by Vincenzo Domenico De Donatis from Sora (1886-1969) and his sons. The windows of the church are fitted with sheets of alabaster rather than glass panels.
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The Thornton–Smith Building sits on the west side of Yonge Street in downtown Toronto, south of Elm Street. Its facade features five two-storey showroom windows surmounted by arches made of stone voussoirs, with pilasters in between each window. The capital of each pilaster column features a small circular medaillon. The size and prominence of the windows, combined with a row of seven sash windows on the third storey, emphasize the overall thinness of the facade.
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The Thomas P. Costin Jr. Post Office Building, formerly known as the United States Post Office—Lynn Main is a historic post office building at 51 Willow Street in Lynn, Massachusetts. It still serves as Lynn's central post office. The two story granite Art Moderne building was built in 1933. It features a central three-bay entry pavilion that projects slightly from the facade; there are pilaster elements flanking and between the windows of this section.
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Right pilaster with symbols and candelabrum The relief is carved in the living rock at a height of some 1.5 metres above the ground. It has a total height of 1.3 metres. In a niche finished with a conch- shaped top, the image of a woman is found, who can be identified as the goddess Athena thanks to the inscription, among other things. On both sides the niche is formed from blocky pilasters, topped by wide capitals.
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The recessed bays, as well as vertical recesses within the piers in the upper levels of the building, were intended to create a shadow-like effect. The roofline of the building contains various ornamentation, while the base contained Greek-letter designs. The building's central section consists of a three-story wing that was originally an auditorium/event space. This portion is wide by deep, and its 33-foot-wide southern elevation contains four bays divided by pilaster strips.
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Other than the brick top stage of the tower and the porch, the church is constructed in stone with tiled roofs. On the north wall of the chancel is an Anglo-Saxon window and traces of a strip pilaster. In the south wall is a Norman priest's doorway which cuts into an earlier window. In the nave the Norman features consist of two windows in the north wall, and a window and a doorway in the south wall.
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The inscription on the side of the sarcophagus is written on a tabula ansata. The coffin is decorated with festoons of fruit and corn, ribbons, antique medallions and peltae, it rests on lion paws and the corners are decorated with oak leaves and acorns. The gisant is clad in ecclesiastical robes with a mitre on his head. The pilaster panels are covered with an elaborate ornamental decoration starting with tripods and terminating in crosses; the Corinthian capitals feature dolphins.
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The panels between arch, cornice and pilaster are decorated with a wreath and ribbon design in render. Timber verandahs at each side of the building have recently been reconstructed according to their original form, and the walls behind them are of exposed brick. The brick at the rear of the building has been rendered. Double hung sash windows with round-headed fanlights echo the arcade at the front of the building, as do arches across the interior hallways.
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The central bay features a double doorway framed by brick pilaster strips and dentillated wood cornice. The main door is flanked by large two part windows with stone sills and headers. A large stone bearing the words "CITY HALL" separates the door from three rectilinear windows in the second story bay; these are flanked by small oval windows. The open bell tower shelters a bell and features a dentillated cornice and domed roof capped by a flagpole.
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The central dividing structure echoed the form of the sides of the bridge, consisting of a series of metal lattice framed hog- backs. Each end of the central divider was marked with a rusticated stone pilaster topped with an ornate gas light. The sides of the bridge were also enclosed in lattice trussing. Each end of the bridge was provided with stone pillars at the river bank and, at the point of entry, stone arches spanned the pedestrian walkways.
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The façade is articulated by pilaster strips, blind arches, oculi (small circular windows), lozenges and mullioned windows. In the interior the intarsia pavement lies over a crypt with groin vaults and Roman capitals, perhaps the relic of an ancient market loggia later turned into a Christian temple. It houses a Roman sarcophagus, remains of frescoes and a Crucifix on panel from the 13th century. In the rectory are frescoes from the 13th and 15th centuries and 18th century stuccoes.
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The east wall has a large pointed window, and in the south wall is a three- light rectangular window. Along the south wall of the aisle are pilaster buttresses with larger buttress alongside, the latter being added in 1886. Towards the east end of the wall is a three-light pointed window dating from the 15th century. Along the rest of the wall are four windows with Y-tracery, and between the middle two of these is the porch.
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This elevation is asymmetrical about a central gabled bay. Three separate pedestrian bridges cross from Herston Road to the upper level connecting with the latticed porch entrance to the living quarters and the dining room. The south-west and south-east corners continue as wrap-arounds from the main elevation. A plain pilaster with a round tile decorative coping above the capital is located one-third the way along each side elevation and finishes the corner.
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Morresi, Jacopo Sansovino, pp. 451–453Bramante's solution for the choir of Saint Peter's consisted in placing a metope, and not a triglyph, over the lesenes. This solution, highly criticized by in his treatise In decem libros M. Vitruvii (Lyons: Jean de Tournes, 1552), was adopted by Antonio da Sangallo for Palazzo Baldassini and by Raphael for Palazzo Jacopo da Brescia. Giuliano da Sangallo's rendition of the Basilica Aemilia shows the triglyph off- centered with respect to the pilaster.
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This is flanked by projecting pilaster-like brick shafts, with narrow windows set at their centers. The buildings corners have brick quoining, and it is topped by a hip roof. The side elevations have bowed windows, and the rear is taken up by a wide rectangular extension that houses the book stacks. The interior retains original woodwork and fixtures, and is organized with a central librarian's desk, reading rooms to either side, and the stacks to the rear.
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Wooden galleries are stretched between the pillars in a manner typical of English Baroque churches. upright Externally, the tall windows are interspaced by pilasters in low relief, supporting a balustrade at roof level with an urn rising above each pilaster. The western end is marked by a single tower which rises in stages and is surmounted by a lead-covered dome and a delicate lantern. The building is of brick and is faced with stone quarried on Archer's estate at Umberslade.
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The Pinkston–Mays Store Building is a historic commercial building at 107-109 Lackston Street in Lowell, Arkansas. It is a two-story brick building with a flat roof, and is divided into two storefronts, separated by a stairway leading to the second floor. The two storefronts are arranged identically, with a central entrance flanked by fixed glass windows. The elements of the first floor facade are separated by brick pilaster, and the storefronts are highlighted by brick corbelling above.
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Situated on each pilaster is a downpipe whose rainwater head has the date 1912 cast onto it. Between the pilasters above the central opening is a plain rendered portion and above this the name HB SALES in raised lettering. The parapet has a raised centrepiece separated from the side pilasters by inverted semi-circular cut-outs. The centrepiece consists of a dentilled cornice supporting an unusual triangular pediment with a curved top, behind which a gable roof extends the length of the building.
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The Milligan Block is a historic commercial building in Huntsville, Alabama. It was built in 1900 and represents the transition from vertically-oriented Italianate style to more restrained, horizontally-oriented commercial styles of the early 20th century. It retains Italianate details such as an applied metal cornice and arched windows, but eschews other applied decoration in favor of using structural elements to provide ornamentation. The street-level façade is recessed and divided into two bays by a large brick pilaster.
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Each bay has a single door covered with a shallow pediment that is flanked by one- over-one sash windows topped with a segmented fanlight. Above each window is a decorative brick arch with an ashlar keystone. The sills are a continuous course of ashlar, broken only by the doors and central pilaster, while a similar course of quarry-faced limestone forms the base of the arches. This window treatment is repeated on the second floor façade and on the Randolph Avenue side.
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Columns also appear on the second storey façade of the verandah and the Corinthian pilaster accentuated the columns. In addition to that, there are two Ionic columns that exist on the side of the house facing Sultan Gate. The Ionic columns are not load- bearing as it does not align with the grid of the load-bearing wall. The application of Classical order is correct in terms of the accordance with Roman preferences but it is missing the Doric order.
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Roman-style amphorae on the parapet, above each pilaster, serve as finials for each bay division. At the northern end of the structure, a concrete port-cochere enclosed by decorative wrought-iron railings projects from the upper-level floor line, creating a side terrace for the upper floor. The house is very simple in plan and elegant in execution. The main entrance accesses a foyer with steps leading up to the major circulation hall through wooden and stained-glass double-doors.
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Creation of a vase using a rotating pedestal, from a depiction in the Mastaba of Ti During the Chalcolithic, the rotating pilaster came into use for the manufacture of ceramics. This may have arisen from the desire to make the body and especially the opening of the vessel being made symmetrical. The technique can be clearly recognised from a horizontal rotation mark in the opening of the vessel. Unlike the potter's wheel, there was no fixed axis around which rotations were centred.
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Palace courtyard The large cobblestoned palace courtyard measuring 1300 square metres (4265 square feet) is enclosed by the Hofburg building and represents "the most beautiful inner courtyard in Innsbruck". Since the Baroque reconstruction, the courtyard has been decorated with sculptural elements such as pilaster, frames, cornices and the cartouches with the Austrian striped shield in the gables of the facades. The variations ensue from the varying old structures in the east, south, north and west. Four portals allow access into the courtyard.
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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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The nave is covered with a gable roof, over the presbytery with a hipped roof, and over the facade shield with a keel. The rectangular nave is vaulted with two almost square fields of the cross vault with an inter-vault rib. The centre console in the north wall is replaced with a semi-cylindrical console under which there is a flat pilaster. The western field in the width of the choir organ is bent with a pointed vault with a belt.
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The two-storey frontispiece is divided into three sections, with the left unit simple with windows and framed doorways and cornerstones. The central section, is inset, preceded by a three-flight staircase with two wings that connect to various sections. In it is the chapel, marked on the exterior by a cornice over pilaster and bell tower with cross over tile, surmounted by rectangular door interrupted by a frontispiece and window. The chapel includes a high-choir and retable with gilded woodwork.
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Completed in 1918, the entranceway's featured element is the nearly semi-circular random ashlar stone half-walls on Roycroft Boulevard's axis of symmetry, which is at a 22 degree angle to Main Street. The wall has one central and two end square posts that are approximately in height and that have poured concrete caps that are not original. Each post has a metal and glass contemporary street lamp projecting from its center. Quarter points of the arc have stone pilaster ornamentation.
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Pilaster capital from Megara Hyblaea with palmettes between volutes. 5th century BCE. Excavations carried on in 1891 led to the discovery of the northern portion of the western town wall, which in one section served at the same time as an embankment against floods—it was apparently more conspicuous in the time of Philipp Cluver, (Sicilia antiqua, Leiden, 1619) p. 133—of an extensive necropolis, about 1500 tombs of which have been explored, and of a deposit of votive objects from a temple.
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The tangka or chimney at the back of the Zamora house. The house is an example of a neo-classical Bahay na Bato with its use of pilaster, a classical architectural feature attached to the wall for decoration and support. Intricately designed carvings can be seen below the eaves of the roof. A notable feature of the house is the presence of a tangka or chimney at the back of the house, which was considered to be revolutionary back in its days.
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PhD Dissertation, 2013 (Royal Holloway College, University of London), p. 446. In this Herald's image the long sides of the rectangular tomb-chest are shown each divided into three equal panels framed by slender squared pilaster strips with gothic detailing. Each panel encloses a quatrefoil containing a large heraldic shield, and there is a single panel of the same kind at either end. The central panel of the sides and foot show the Jenyns emblazonment: Argent a chevron gules between three plummets sable.
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This was the first of many buildings (mostly in Brighton) on which the Wilds' signature motif, the ammonite capital, was used. Consisting of an ammonite-shaped Ionic-style capital on top of a pilaster, this design was particularly liked by the Wilds because it represented a pun on their first names. In 1815, both men moved to Brighton, where their partnership grew and took on more work. They continued to work in both towns until 1820, after which they concentrated exclusively on Brighton.
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Charlottesville Coca-Cola Bottling Works is a historic Coca-Cola bottling plant located at Charlottesville, Virginia. It was built in 1939, and is a two-story, reinforced concrete Art Deco style factory faced with brick. It has one-story wing and a detached one-story, 42-truck brick garage supported by steel posts and wood rafters. The design features stepped white cast stone pilaster caps, rising above the coping of the parapet, top the pilasters and corner piers and large industrial style windows.
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Another well-preserved example is the Roman Baths at Bath, Somerset. Early Medieval architecture's secular buildings were simple constructions mainly using timber with thatch for roofing. Ecclesiastical architecture ranged from a synthesis of Hiberno–Saxon monasticism,.. to Early Christian basilica and architecture characterised by pilaster-strips, blank arcading, baluster shafts and triangular headed openings. After the Norman conquest in 1066 various Castles in England were created so law lords could uphold their authority and in the north to protect from invasion.
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A simple pilaster-trimmed Greek Revival main doorway is located on northern end of the three-bay front. The second floor of the house has two bays and the third floor has only a single bay. The interior floor plan is divided into three rooms and a small entry hall on the first floor, two rooms on the second floor and two rooms on the third floor. The interior trim was noted to be a highly simplified Greek Revival style.
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The shrine hall is entered by a plain and a socketed-door measuring in width and in height. The hall measures in length; in width and in height. It has a row of five pillars and one pilaster on each side of the chaitya or Dagoba or stupa (central relic-shrine), located at the rear of the hall. A start was made on a typical large arched window above the entrance, but this was never completed, and remains a blind recess.
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Double brackets at the top of each pilaster support a deep pressed metal cornice, with a row of dentils below. Windows on the upper floors are one- over-one sashes, each topped with a row of soldier course brick with a stone block at each corner. Each bay is two windows wide, except for the two end bays on the Holmes side, which are one window wide. The lobby entrance is on the Holmes side, which is covered by an elaborate metal awning.
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Another well- preserved example is the Roman Baths at Bath, Somerset. Early Medieval architecture's secular buildings were simple constructions mainly using timber with thatch for roofing. Ecclesiastical architecture ranged from a synthesis of Hiberno–Saxon monasticism,.. to Early Christian basilica and architecture characterised by pilaster-strips, blank arcading, baluster shafts and triangular headed openings. After the Norman conquest in 1066 various Castles in England were created so law lords could uphold their authority and in the north to protect from invasion.
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German archaeologists detected plaster edges of lost wooden door panels that could close the doorway between the tablinum and this cubiculum. Similar to the tablinum, this space has a black socle divided into panels with broadleafed green plants accented by yellow flower ornaments under the pilaster strips. The main zone is white divided into panels by dark red stripes. Panels are further detailed with filigree borders and floating emblems of opposing griffins, flying swans with heads turned back, dolphins, and jumping bucks.
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The carved reredos, placed within a shallow rounded apse, shares an unusual decorative feature with the reredos of the former St. Mary's in Dublin: Corinthian pilaster capitals with twin acanthus scrolls. The acanthus frieze is carved with winged angels and bishop's mitre; the segmental pediment, with festoons of flowers. The craftsman's name is unrecorded.The Knight of Glin and James Peill, Irish Furniture: Woodwork and Carving in Ireland from the Earliest Times to the Act of Union (Yale University Press, 2007), pp.
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The outer pylon of the arch is continued to the base of the abutment as a low profile pilaster with a rock-faced surface. Hector Vasyli Memorial At the centre of the arch, galvanised piping projects and a section hangs parallel with the face of the structure. A marble tablet is applied to the landward side of the up-river pylon below the lowest cornice, commemorating Hector Vasyli. The tablet is in the form of an aedicule in the Corinthian style.
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Three of the front four bays are taken up by wood-framed plate glass windows and the recessed double-door entrance with single-light transom; the western bay is a garage added later on. Above it is a bracketed sheet metal entablature with the words "J.Y. DYKMAN" and fleur-de-lis and swag motifs on the fascia and pilaster capitals. The 1876 Beers map of the Nelsonville area, the earliest one, shows the corner as part of the Gouverneur estate.
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It features basket weave brick panels and concrete ornamentation for the pilaster bases and capstones, banding, and parapet. The building is similar to Station Number 7 that was built in the Leeds neighborhood in 1937. That suggests the same architect, who is unknown, but local lore suggests William L. Steele may be the architect. A design for Fire Station Number 1 from 1922 is attributed to him, although never built, and is similar to the two stations that were built.
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The Garbose Building is prominently located in the commercial heart of downtown Gardner, at the southwest corner of Parker and Pleasant Streets in West Gardner Square. It is a three-story masonry structure, built with a wood frame and finished with red brick with marble trim. Its ground floor has three storefronts and the main building entrance facing Pleasant Street, each section separated from the other by a brick pilaster with marble capitals. A frieze band separates the first and second floors.
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Cast stone impost blocks engage a horizontal stringer course of brick in a basket-weave pattern that also engages the similar cast stone capitals on the pilasters. A gold-colored Star of David is in the gable field. Both east and west profiles have similar long, narrow windows in their bays, divided by pilasters topped with a plain frieze that becomes wider with each pilaster south. Both also have a fourth bay at the south end with a different treatment.
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The façade, built in 1460–1464, has sloping sides and is in brickwork, divided in three parts by two pilasters strips. The two side sections have quadruple mullioned windows, while the central has a large rose window. The portal is surmounted by a pointed arch with white stone decorations portraying, on the summit, St. Christopher, the Madonna and the Archangel Gabriel by Nicolò di Giovanni Fiorentino and Antonio Rizzo. Under is a tympanum, in porphyry, supported by circular pilaster strips.
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The Daniel Smith House is located in Prescott, Wisconsin. The original section of this house, built in about 1855, is a wood frame structure built on a stone foundation. It displays many features found in the Greek Revival style of architecture, including: low-pitch gable ends, fluted pilaster corner boards, boxes cornice with dentils and a plain frieze, and a full-front porch with Doric columns. In about 1870 a one-story clapboarded addition was made to the southwest corner of the house.
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The reinforced concrete construction can be easily seen in the exterior detailing, with obvious horizontal and vertical elements. Although the building is quite long, architectural emphasis on the vertical pilasters, capping them with stylized Arts and Crafts ornamental detail, de-emphasizes the horizontal dimension of the building. The corner bays are further ornamented with taller pilaster capitals projecting through the parapet, and inset stones above the windows. The building is topped with a distinctive four-story tower concealing the roof water tank.
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The Piazza del Campidoglio During the Mannerist period, architects experimented with using architectural forms to emphasize solid and spatial relationships. The Renaissance ideal of harmony gave way to freer and more imaginative rhythms. The best known architect associated with the Mannerist style was Michelangelo (1475–1564), who frequently used the giant order in his architecture, a large pilaster that stretches from the bottom to the top of a façade. He used this in his design for the Piazza del Campidoglio in Rome.
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The former First Church of Christ, Scientist, now the Little Rock Community Church, is a historic church building at 2000 South Louisiana Street in Little Rock, Arkansas. It is a single-story Mission style building, designed by noted Arkansas architect John Parks Almand and completed in 1919. Characteristics of the Mission style include the low-pitch tile hip roof, overhanging eaves with exposed rafter ends, and smooth plaster walls. The building also has modest Classical features, found in pilaster capitals and medallions of plaster and terra cotta.
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On simpler houses, it appeared as a simple brick pilaster-halsgevel, with a few restrained ornaments - this type is named a "Vingboons-imitatie" (Vingboons- imitation). Another of his designs was Kloveniersburgwal 95, in 1642, one of the most finely proportioned classical-school city-palaces in Amsterdam. Philips Vingboons lived during the high point of Amsterdam's power and wealth, halfway through the 17th century, and became the city's most important architect and designer. He especially designed houses since, as a Catholic, he was passed over for state commissions.
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In addition to the pilaster niches, arched niches line all of the walls, with space for an estimated total of nearly 500 burials. With approximately two urns per niche, the columbarium could hold about 900 cremated individuals in total. For the most part, these niches and urns were similar in shape, size, and decoration, and their arrangement into evenly spaced rows creates a relatively egalitarian burial model. The columbarium also contains anywhere from 200-300 painted, incised, or marble inscriptions intended to name the deceased.
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The imposing two-story church, as seen from the staircase leading from the roadway in Brejo A single longitudinal nave church with presbytery, with a rectangular bell-tower situated on its right lateral wall, along with baptistery, lateral chapel and sacristy. The nave is divided into various volumes, and covered in tiled-roof. The faces of the building are plastered and painted in white, with pilaster corners, crowned by pinnacles and circled by balustrades. The principal facade is terminated by a contoured frontispiece and crowned by cross.
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An image of the dedicatees was placed on the first column on the left from the entrance during this restoration, with an inscription recording the restoration. The hospice and church were then given in 1276 to the Confraternity of those Commended to the Saviour. The present church is the result of Pope Benedict XIV's 1751 reconstruction. The present cube-shaped exterior is divided by pilaster strips in a Neoclassical style, but with a late-Baroque elements, including a dome influenced by the architecture of Borromini.
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Built in 1850, the 1-1/2 story, Greek Revival style farm house is set on a side hall plan, with a front gable with a recessed wing and attached barn. The entrance features side lights with a pilaster and entablature surround. The house was built by Enoch Williams, member of a prominent East Taunton family, and is located on what is one of East Taunton's largest surviving farm properties. It was added to the National Register of Historic Places on July 5, 1984.
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The bell tower has five stages, all faced in narrow clapboard. The first ends in a narrow molded cornice; the second, slightly smaller, ends in a much larger cornice. Above it the taller third stage has a louvered rectangular vent on each side, flanked by pilasters with a larger pilaster at each corner, all topped with mutules ending on a molded course. The fourth stage, above that, is another short clapboarded section ending in a projecting cornice, above which a short clapboarded parapet, the final stage, rises.
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Dyfi Bridge The Dyfi Bridge () was first mentioned in 1533, by Geoffrey Hughes, "Citizen and Merchant taylour of London" who left "towards making of a bridge at the toune of Mathanlleth". By 1601 "Dovey bridge in the Hundred of Mochunleth" was reported to be insufficient, and the current one was built in 1805 for £250. Fenton describes it in 1809 as "A noble erection of five large arches. The piers are narrow and over each cut- water is a pilaster, a common feature of the 18th century".
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Although this building has two Romanesque windows and a massive pilaster on the front, it is in all probability an early 17th rebuild from the time that the Christ's Hospital Bluecoat School occupied the premises."Antram", (1989), 505 The Romanesque windows appear to be very similar to those on the buildings that were demolished in 1896, and possibly would have come from the source. The Norman House and adjacent building were used in the later 18th and 19th century as a malting floor and barley store.
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The base is typically two stories tall, with two leaded-glass windows within each of the second-story bays. An entrance to the tower portion of the building is located at the building's southwestern corner, at First Avenue and Mitchell Place. The hotel entrance further east on Mitchell Place is distinctive in that it contains a three-story-tall base with three bays, separated by wide pilaster strips, as well as cast-stone moldings. Art Deco sculptural panels designed by Chambellan are located near that entrance.
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On opposite sides of the Roycroft Boulevard roadways from the central feature are flanking structures with random ashlar stone posts and half-height walls. They are oriented parallel to the angular Roycroft Boulevard and have lengths proportionate to the central wall end post's distance from Main Street. Both walls are L-shaped with the longer length extending along Roycroft Boulevard and having a short cornered length along Main Street. These walls have capped, square stone buttress-less posts and corners marked by wall-height stone pilaster.
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In its central part there is a 6-axes projection based on six pillars surmounted by a triangle pediment with the coat of arms of Cieszyn and a floral ornament. Vertical divisions of the façade form rusticated pilaster strips, between which a window in profiled frames is located. The second floor is separated by a ledge. The town hall tower is erected on the square plan with rounded corners, decorated by Corinthian pilasters that support a notable ledge on cantilevers and a porch with an iron balustrade.
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Chatsworth is regarded as England's first Baroque house. Archer's Corinthian order shifts restlessly against the wall plane, varying on the entrance front from flat pilasters to attached columns, to a free-standing screen that marches across the recessed entrance bays. The wall plane is ashlar on the entrance front but with strictly conventionalized channeled rustication the full height of the garden front. On the side elevations, the channeled rustication appears only on the rusticated pilaster-like corner quoins of the lightly projecting five central bays.
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The former Ashworth and Jones Factory complex is located in far southwestern Worcester, near the town line with Leicester, on the south side of Main Street (Massachusetts Route 9). The complex consists of a series of buildings that roughly form a U shape. The oldest portion is a three-story brick building, in which windows are set in recessed corbelled wall panels, with pilaster-like piers separating the windows. There is a clock tower on one corner that is topped by a flared mansard roof.
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The dates and descriptions suggest that the 'lofty house of six storeys' was built on the north side of the Swinzie Burn after the old castle on the south side was demolished, and it was in turn demolished when the present house of circa 1820 was built. The present-day Robertland House (2009) was designed in 1820 by David Hamilton, who also designed Dunlop House. Hamilton's acted as architect to the estate owner, Alexander Kerr. It has a pediment, pilaster terminated windows in an otherwise standard facade.
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The exterior, made of stone of different provenance, is marked by pilaster strips and arches over which are precious ceramic basins (the originals are in the National Museum of St Matthew in Pisa) of Islamic, Majorca and Sicilian manufacture decorated with geometrical and figurative motifs (10th-11th centuries). The 12th-century bell tower was destroyed in 1944. Only the base has been rebuilt. The large and solemn interior, with truss ceiling, is divided into a nave and two aisles by antique columns with classical capitals.
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Also in the north aisle is a stone coffin with a cross on its lid, which was dug up outside the north door in 1830. A Norman pilaster carved with chevrons has been re-set into the wall to the left of the altar. The wooden crucifix on the altar was carved by a German prisoner of war. The font was moved from a church in Stanton, Suffolk in 1962–63, the costs of transporting and re-erecting this being borne by the Royal Air Force.
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The building includes a rectangular plan, with simple volumes and homogeneous covering in tile. The two-story facade is plastered and painted in white, covered by masonry foundation with pilaster-ed corners (with the those to the bay convex) and finished in entablature surmounted by full parapet, capped in stone. Above the building facades are two cornices capped by granite. The eastern facade includes rounded portal flanked by rectangular windows, while the second floor is complemented by a door-window and veranda flanked by similar windows.
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It features extensive Romanesque designs, including pilaster buttresses and arcading. Historians Beric Morley and David Gurney believe this to be "one of the finest of all Norman keeps", and its military utility and political symbolism have been extensively discussed by academics. The castle was originally surrounded by a carefully managed landscape, from the planned town in front of the castle, to the deer park and rabbit warrens that stretched out behind it, intended to be viewed from the lord's chamber in the great keep.
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The building in 1898 when it housed a manufacturer of lamps and metalware Vandkunsten 8 photographed by Frederik Riise Vandkunsten 8 in 1914 Vandkunsten 8 was built as a brewery in 1750. At the turn of the century, it was owned by brewer Jens Lind. He moved the brewery to a new building facing Kompagnistræde on the other side of the block and converted the old one to a stately residence for his own use. The four Ionic order pilaster on the façade date from this time.
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The line of each pilaster is carried through to roof level by a projected section of cornice topped by a block in the parapet and a pedestal and ball above the parapet line. Each bay contains three window openings flanked by small pilasters with acanthus leaf capitals. A broad string course decorated with a row of rosettes separates the square-headed windows of the first floor from those on the upper level. These are arched and their keystones extend to a cornice embellished with brackets and a row of dentils.
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Vertical panorama of the entire temple The presiding deity, Chamunda or Charchika sits on a corpse flanked by a jackal and an owl and decorated with a garland of skulls. She holds a snake, bow, shield, sword, trident, thunderbolt and an arrow, and is piercing the neck of the demon. The niche is capped by a chaitya window containing seated figures of Shiva and Parvati. The Chamunda is surrounded by a host of other smaller size allied deities carved in the lower parts of the walls, each within a niche separate by a pilaster.
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This church represents a baroque rectangular building with a large semi-circular altar. The main facade has centrally symmetric composition: the middle there is risalit, cutting through three arched windows with responders between them and completing by the gable, side parts have two arched windows, rounded corners and pilaster side. The entry of the church was on the south side. Initially it had a doorway with columns, and later the church kept the high porch with rampart of ornately shaped trellis-work and canopy with elegant hammered metal consoles.
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The First Universalist Church is located on the north side of Highland Avenue, opposite Trull Lane and the First Unitarian Church. It has a roughly cruciform shape, with a long body oriented parallel to the street, with a square tower projecting at the right end of the front and a gabled projection at the left end. The exterior is primarily plain stucco, with trim details in brick and terra cotta. The front facade has round-arch windows in pairs, framed by brick trim with a white pilaster in between.
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The Dr. Samuel Marshall Orr House, is an historic house located in Anderson, South Carolina. Built in 1885, the two-story Greek Revival style house features a front façade of four columns that support a broad, plain entablature with low-sloped, boxed cornice pediment. The cornices of the hipped tin-covered roof, pediments, and shed roofs of side porches are adorned with modillions. The main entrance consists of double doors surrounded by a three-light transom, four-light rectangular sidelights, and a pilaster molding that supports a paneled entablature.
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Central entrance has detailed limestone gabled surround with single-rebated ornamented pilasters. To right, simple square-headed entrance interrupts plinth with descending steps accessing basement, notice board affixed above. Datestone above plinth to left corner inscribed "CHURCH / OF / OUR LADY OF VILNA / MDCCCX". Upper facade is divided into three sections with a continuous dentilled cornice rising with the central wide gable section that contains the circular stained-glass rose window with limestone moulded surround, flanked to both sides by the pilaster bases of two narrow towers with round-headed slit window above platband.
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Dense with ornament of "Roman" detailing, the display doorway at Colditz Castle exemplifies this northern style, characteristically applied as an isolated "set piece" against unpretentious vernacular walling. During the Mannerist Renaissance period, architects experimented with using architectural forms to emphasize solid and spatial relationships. The Renaissance ideal of harmony gave way to freer and more imaginative rhythms. The best known architect associated with the Mannerist style was Michelangelo (1475–1564), who is credited with inventing the giant order, a large pilaster that stretches from the bottom to the top of a façade.
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Classified specifically as a stripped classical art deco style, Eaton's College Street emphasized symmetry in the plan and rhythm in the arrangement of the fenestration, doors, and pilasters. A distinct repetitive pattern can be distinguished with the windows and pilasters, as well as with the arrangement of large entrances. Three small windows are on the upper levels between each pilaster, and three large shop windows between each entrance. The original Eaton's College Street was designed with large shop windows on the floor level to attract window shoppers and pedestrians.
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The khura is inscribed in south wall decorated with four decorated vertical pilasters with chaitya medallions as similar with south wall bada of the vaital temple. The eastern wall is decorated with two vertical pilasters on either sides of raha niche. Within the pilaster there is a subsidiary niche with scroll works measures 0.35 metres height x 0.22 metres width and 0.05 metres in depth decorated with elephant and lion heads surmounted by lotus design. The niche crowned with a vajramundi at the center of which a peeping human face.
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Pietro Francesco Carlone was mainly committed to abbey building. He worked during the Counter-Reformation and revival of the Catholic Church, undertaking work for the Jesuit order (1568–1584) using the architecture of baroque churches throughout Europe as a model. Like other builders and stucco- workers in his family, including his generation and the next, Carlone built in the so-called "Jesuit style". However, the Carlones in Austria followed the spread in northern Italy of the pilaster style of church with galleries, barrel vault, straight chancel without transept and twin-tower facade.
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The door opening is framed by a round arch that sits on the marble pilasters, as well as a rectangular frame consisting of a pilaster on the sides and a two-step lintel at the top. Three-floored western part of the church was used as a residence but currently is closed. There are two windows on each side of the two rows of windows that illuminate the narthex on the sides of this door. The lower row windows are rectangular near the square, the upper row is narrower and longer.
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In keeping, its central doubled glazed doors has a Doric fluted pilaster (column) surround under flat porch hood. Brewerstreet Farm is a Grade I listed building house, part 15th century, part Tudor; alterations and extension in 1850; further restoration in the 20th century. Close stud timber framed on a brick plinth with rendered infill, the roof is hipped of Horsham stone, with three symmetrically chimney stacks. A former medieval hall house, it has gabled end cross wings with jettied first floors, curly bargeboards and moulded dragon posts to stairwell corners.
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Above the front door is a wood sign with the name of the church and year of construction. The corner boards on the main building, in keeping with the Greek-Revival style however, terminate at the horizontal entablature wrapping around from the east and west facades, with decorative trim making the appearance of a pilaster cap. The frieze board of the gable then extends up the face of the gable from this horizontal detail. A cove trim piece is located at the juncture of the frieze board and wood soffit of the eave.
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The pattern was inverted on the Silver Street side, facing northwest, where two entrances were placed at either end of the double- storeyed section's street front, with two bays containing a pair of arched windows placed between each entrance. A pilaster separates the two bays of windows. It is possible that the Silver Street elevation may not have been the side elevation as intended. The rear doorway is flanked by piers, rusticated on the upper level and treated as pilasters on the ground floor, in a distinctly separate bay.
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Salerno di Coppo executed the fresco of the Madonna and Child on the pilaster in the nave (1475). On the right is a bronze candelabrum by Maso di Bartolomeo (1442), while in the left aisle is the cenotaph of bishop Gherardo Gherardi (1703) and, in the right one, the tomb of bishop Alessandro Del Caccia (1650), and the funerary monument of bishop Leone Strozzi (1695), both by unknown sculptors. The pulpit was designed by Giorgio Vasari (1560). Next to the right entrance is a sculpted stoup attributed to Nicola Pisano's workshop.
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On the left pilaster there is an inscription at about chest height, which has been resolved as an 8 line inscription: Josef Keil and Adolf Wilhelm report the illegible traces of an "actual funerary inscription in the background on the left and right sides of the figure's head." The letter forms date the inscription to the middle of the Imperial period, while similarities in posture and clothing led Serra Durugönül to date the relief to the second century AD when she studied the Cilician cliff reliefs in the 1980s.
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In the north transept stands a statue of Our Mother of Good Counsel in a niche topped by a pediment and flanked by two pilasters – each pilaster on a pedestal on either side of it. The north transept is where the Baptistery is located. The statue of Our Mother of Good Counsel and the stained-glass window over the door hints to its previous designation as the Chapel of the Blessed Virgin Mary. On the walls are memorial plaques to early personalities of the church, notably, John Connolly and Bishop Michel-Esther Le Turdu.
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The House at 15 Davis Avenue in Newton, Massachusetts, is a well-preserved modest Italianate house. It is a 2-1/2 story wood frame structure, whose features include paired brackets in the eaves, bracketed lintels above the doors and windows, and paneled corner pilaster strips. The main entrance is flanked by sidelight windows and topped by a transom. Likely built in the 1850s, this was probably one of the first houses built when Seth Davis (whose house stands on Eden Avenue) began to sell off some of his landholdings.
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There is a belfry at the uppermost storey. The tower is constructed of stone rubble and rendered on the outside, and is decorated with vertical limestone pilaster strips and strapwork. At the corners of the tower, the walls are strengthened by long vertical quoin stones bedded on horizontal slabs, and hence is termed long and short work. The way in which the tower is decorated is unique to Anglo-Saxon architecture, and the decorated Anglo-Saxon tower itself is a phenomenon that occurs locally, including Barnack near Peterborough and Stowe Nine Churches in Northamptonshire.
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In the latter part of the 19th century, it was the home of Jessie White Mario, the English woman who took an active part in the struggle for the Unification of Italy at the side of Mazzini and Garibaldi. Outside of the town stands the Sanctuary of Nostra Signora del Pilastrello (Our Lady of the Pilaster), at the site of a shrine built in the 16th century to house an icon of the Madonna. The abbey and church were reconstructed in the 19th century.History of the Sanctuary Jessie White's house in Lendinara.
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The Barker Mill is set on the south bank of the Little Androscoggin River, a short way upriver from its confluence with the Big Androscoggin River. It is a five-story brick structure, 33 bays in width, with a mansard roof and a tower section that projects from its front (east-facing) facade. Its sash windows are general set in slightly-recessed panels, separated by pilaster-like piers and horizontal bands. The roof has a bracketed cornice, and the steep portion of the mansard roof is lined with gable-roof dormers.
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The cast stone detailing, portico, and brick corner quoins, are elements of the Classical Revival style that was popular in the early 20th century. The building entrance is a square portico that is framed by four monumental Ionic fluted capital and pilaster columns. The front façade features several square rock stone walls that are believed to have been either gravestones salvaged from the original cemetery or flower beds, although neither use has been confirmed. Other neo-classical elements included keystones over the basement windows and keystones over the pedimented entry doors at the basement level.
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At ground level the elevation is divided into two equal bays by a pilaster which finishes in a plain cornice separating the upper and lower levels of the elevation. Each lower bay has a sash window. The operational areas of the Station are housed at ground level and the living quarters for the superintendent occupy the upper level. At the ground floor the large entry doorways open into a drive through plant room surrounded by subsidiary spaces including a committee room, office, bathroom, bearers' bedroom, bearers' dayroom and casualty room.
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Pilaster won the November 12, 1949 edition of the Pimlico Cup running temporarily under the name of trainer Frank Bonsal because owner Henry Lobe Straus had died in an October 25 airplane crash. Wise Margin's time of 3:37 flat in his 1956 win broke the track record for two miles and a sixteenth. Four years later Beau Diable broke Wise Margin's record when winning the 1960 Pimlico Cup in 3:35 3/5. The final running of the Pimlico Cup took place on December 9, 1961 on a racetrack covered with snow.
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Porticus looking into the Exedra at The House of the Prince of Naples, Pompeii, Italy 2nd century BCE - 1st century CE Pinax of Birds and Fruit The floor pavement is coarse cocciopesto. The black socle, divided by white lines, is accented by simple diamonds enclosing four-petaled flowers. The main and upper zones are white framed by red stripes and separated from the socle with an ochre stripe. In the center of the north wall is a pilaster strip enclosing an ocher-shaded candelabra crowned by a frontal sphinx in dark red and blue-green.
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In the (p) portion of the space containing the stairs to the upper floor there is coarse plaster composed of black sand with little brick chippings. On the tongue wall and below the former flight of stairs. The same plaster is used on the remaining walls of (i) except on the south and east walls where a socle of fine reddish plaster was applied up to 1 3/4 m. high. On the east wall a pilaster next to entrance 7 is red and the inside of the adjoining partition wall is painted ocher.
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Brick pilaster strips are located at the corners of the building and between the bays of the front ell. The west (front) facade uses rectilinear windows with green wood trim featuring a stylized floral design in the wood lintels, and double-hung windows are used on the second level. The windows on the north facade use arched brick hoods and decoractive panels composed of exposed brick corners beneath the sills.Britta Bloomberg, Minnesota Historic Properties Inventory Form, August 1980; copy accessed from Westerman Lumber Office & House file, State Historic Preservation Office in the Minnesota History Center.
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The church was erected in an area along the southwest of the island, in an isolated urban area inserted into a level area and courtyard. Around the church yard is the Império do Espírito Santo, that dates to 1879. The single- nave church longitudinally extends to the presbytery, which is narrower, and addorsed by lateral bell tower and sacristy, plastered and painted while, while covered in ceiling tile. The principal facade with embrasure, pilaster cornerstones, terminates in a central frontispiece delimited by curvilinear forms and surmounted by stone cross.
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Above each of the oculi is a linear cornice, supporting a segment of pilaster that terminates in another pinnacle that erupts from the frontispiece. The bell towers are implanted on either side of the facade, divided into three sections by the extension of the cornices. The ground floor section includes a guillotine window with simple stonework frame, which is repeated in the second section. The framed window valance is decorated with a small central rosetta, although the second-floor window also includes a larger shell-like element of larger dimensions.
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The simple, square-shaped audience area accommodated about 200 and comprised a ground floor where benches were arranged in amphitheatre fashion as well as three boxes on each wall overlooking the ground floor. The walls between the boxes were divided by pairs of pilasters, between which pilaster statues depicting women holding candles were placed. The statues were the work of Andrzej Le Brun who was assisted by Jakub Monaldi and Joachim Staggi. Above the real boxes, illusionary ones were painted to suggest yet another tier of boxes filled with a courtly, elegantly attired public.
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Along its riverfront elevation there also a series of pilaster-shaped venting flues, part of the building's original air handling system. The Naushon Company was incorporated in 1901 in New Jersey as a joint stock company headed by Malcolm Chace, a grandson of the founder of the nearby Valley Falls Mill. Initially taking over an existing textile operation in Woonsocket, the company began construction of this facility in 1902, with much of its extant footprint completed by 1904. The mill was designed by William T. Henry, a well-known industrial architect from Fall River, Massachusetts.
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Detail of exterior, top northeast corner, showing ornamental pilaster capitals and decorative insets. The Vassar Swiss Underwear Company Building is an excellent example of a four-story reinforced concrete industrial loft building, built in two architecturally identical sections that are seamlessly integrated. The original 1913 portion of the building is by and the 1923 addition is by 204 feet; the entire building houses 250,000 square feet. The building is U-shaped in plan, with wings of unequal length backing onto the diagonal railroad track in the rear and flanking a narrow central courtyard.
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The church is constructed in red sandstone with a Welsh slate roof. Its architectural style is Decorated, and the church has a cruciform plan; the plan consists of a nave with a clerestory, north and south aisles under lean-to roofs, a south porch, north and south transepts, a tower at the crossing, and a chancel. At the west end is a large five-light window containing Decorated tracery. Along the sides of the aisles are eight lancet windows, and the clerestory has four three-light windows with Decorated tracery, between which are pilaster buttresses.
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Most of the windows of the north wall of the north aisle and south wall of the south aisle are 14th or 15th century Decorated Gothic or Perpendicular Gothic additions. The present font is 15th century. In 1574 two flying buttresses were added to the north side of the north aisle. The more westerly of the two bears an inscription giving the date in the reign of Elizabeth I. A pair of tall, cylindrical pinnacles at the west end of the nave, surmounting the late Norman pilaster buttresses on the west gable wall, were also added in the 16th century.
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In the giant order pilasters appear as two storeys tall, linking floors in a single unit. The fashion of using this element from ancient Greek and Roman architecture was adopted in the Italian Renaissance, gained wide popularity with Greek Revival architecture, and continues to be seen in some modern architecture. Pilaster is frequently also referred to as a non-ornamental, load-bearing architectural element in non- classical architecture where a structural load must be carried by a wall or column next to a wall and the wall thickens to accommodate the structural requirements of the wall.
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The plan of the church is beguilingly irregular, with the chancel decreasing in width towards the east end. A pilaster strip in the south wall of the chancel curiously tapers with the narrow portion at the bottom: the whole building has a gnarled, irregular appearance which is a mark of Anglo-Saxon construction. Even the corners (quoins) are of flint, although these are somewhat larger on the whole than those built into the body of the walls. There is even, surprisingly, an attempt at herringbone-work, all in flint, and round splayed porthole windows dressed entirely in flints, not quite perfect circles.
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This scene depicts the moment in which Zechariah, now mute, writes his new son's name on a sheet of paper. It is set under a large portico, which opens on a magnificent landscape created according to aerial perspective. The main scene is in the middle, with Zechariah sitting and looking at his son, who is held in Elizabeth's arm. The figures on the left are symmetrically balanced by a group of two women on the right: this composition allowed the child to appear exactly in the middle of the scene, aligned with the central pilaster of the portico.
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Under the central pediment that breaks the line of a traditional sloping slate roof, the arched portal is scaled to admit riders and carriages. Four similarly-treated ranges, flanked by matching angled corner towers with pyramidal roofs and surrounded by the moat, enclose a Renaissance courtyard built for the Maréchal de Saulx-Tavanes, confident of Catherine de' Medici. The splendor of the interior courtyard shows that this château, though symmetrical and regular, still looks inwards. A rusticated ground floor with arch-headed windows supports a main floor where paired pilaster-defined bays that alternate between windows and coved niches.
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In these grotesque decorations a tablet or candelabrum might provide a focus; frames were extended into scrolls that formed part of the surrounding designs as a kind of scaffold, as Peter Ward-Jackson noted. Light scrolling grotesques could be ordered by confining them within the framing of a pilaster to give them more structure. Giovanni da Udine took up the theme of grotesques in decorating the Villa Madama, the most influential of the new Roman villas. Maiolica pilgrim bottle with grottesche decor, Fontana workshop, Urbino, c 1560-70 In the 16th century, such artistic license and irrationality was controversial matter.
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The Sleeping Ariadne, acquired by Pope Julius II in 1512, inspired three poems of Renaissance literature eventually carved into the pilaster frame of the statue. The first of these was published by Baldassare Castiglione, which became widely circulated by 1530 and inspired the other two poems by Bernardino Baldi and Agostino Favoriti. Castiglione's poem depicted Cleopatra as a tragic but honorable ruler in a doomed love affair with Antony, a queen whose death freed her from the ignominy of Roman imprisonment. The Sleeping Ariadne was also commonly depicted in paintings, including those by Titian, Artemisia Gentileschi, and Edward Burne-Jones.
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The windows and doors of the building are wooden with movable louvers and fixed colored glass inlets. A variety of flooring material is used throughout the house: from native cement-colored tiles in the dining area and vestibule, 1" by 6" tongue-and-groove wood slats in the living area and bedrooms, and ceramic tiles in the bathroom, to marble tiles at the entry-way. The Baroque's influence is manifested immediately on the building's rounded corners, typical of these residence types in Ponce. The corner is framed by two rusticated pilasters and divided into three bays, by two pilaster strips or lesenes.
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The church interior consists of three rectangles coinciding with the choir, nave an presbytery. The choir, separated by railing with long high-back choir stalls, line the whole chorus-bass, an intermediary body with rectangular edicules that shelter images and decorated by three lines of arcs with lunettes. Its single larger nave, divided is divided into two registers and rhythmically marked by sections with Tuscan pilaster, while above they appear as inverted pyramids. The lateral chapels include shallow archivolts, with retables of gilded carvings, one with a pulpit and the other with lateral entrance to the temple.
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1282–1328) and Irene of Montferrat, and the fourth wife of Serbian king Stefan Milutin (r. 1282–1321). Two celebrated Serbian poems were inspired by the beauty of the fresco. Two dark stains on the places where queen's eyes were supposed to be have created a common belief that her eyes were being carved out by Albanians, hence the well-known strophe by Milan Rakić: > Your eyes were gouged out, oh beautiful image, On a pilaster at approach of > night, Knowing that no one would witness the pillage, An Albanian’s knife > robbed you of your sight.Simonida, Kosara Gavrilović translation.
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Man and woman, Old-Babylonian fired clay plaque from Southern Mesopotamia, Iraq In Babylonia, an abundance of clay, and lack of stone, led to greater use of mudbrick; Babylonian, Sumerian and Assyrian temples were massive structures of crude brick which were supported by buttresses, the rain being carried off by drains. One such drain at Ur was made of lead. The use of brick led to the early development of the pilaster and column, and of frescoes and enameled tiles. The walls were brilliantly coloured, and sometimes plated with zinc or gold, as well as with tiles.
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The version also known as Portrait of Desiderius Erasmus of Rotterdam with Renaissance Pilaster is a 1523 painting in oil and tempera on panel, in the National Gallery, London (on long-term loan from the Earl of Radnor). Holbein painted three much-copied portraits of Erasmus in 1523, of which this is the largest and most elaborate. It is likely the one sent to , Archbishop of Canterbury, in England. Holbein later painted Warham after he travelled to England in 1526 in search of work, with a recommendation from Erasmus, who had once lived in England himself.
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Wells House has a generally symmetrical square design around an inner courtyard, with the building's main entrance to the south. It has three 9-bay storeys, and projecting 2-bay towers on each corner which add an attic storey, and which are each topped with four small cupolas and spires. The style of window varies by floor; segmental arches on the ground, round- headed with Gibbs surrounds on the first, and a surround of grooved pilaster strips on the second floor. The attic windows come in groups of three round- headed windows flanked by composite pilasters and separated by composite columns.
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Mannerism's most famous fresco: Giulio Romano's illusionism invents a dome overhead and dissolves the room's architecture in the Fall of the Giants. Like the Villa Farnesina in Rome, the suburban location allowed for a mixing of both palace and villa architecture. The four exterior façades have flat pilasters against rusticated walls, the fenestration indicating that the piano nobile is the ground floor, with a secondary floor above. The East façade differs from the other three by having Palladian motifs on its pilaster and an open loggia at its centre rather than an arch to the courtyard.
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The old stone palace with two entrance gates and which served as a government office during Peshwa's time is almost tottering. On one of these gates is carved an animal like a heraldic lion, with a circular shield on the right. At either end is an archway and between the arches on each side of the roadway is a raised terrace between high. On each terrace stand two pillars each of the height of about and behind each pillar in the side wall is a pilaster, and in each end wall in a line with the pillars are other pilasters.
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Lorenzo's first public work was a panel depicting St. Martin Enthroned, painted for the Arte dei Vinattieri, the wine-merchants’ guild of Florence. The painting was mounted in the Florentine church of Orsanmichele on a pilaster assigned to the guild on October 4, 1380, and is now in the Depositi Galleria d'Arte in Florence. The predella depicts the episode of St. Martin dividing his cloak with the beggar. It was about this time that Lorenzo began working with the painters Agnolo Gaddi, Corso di Jacopo, and Jacopo di Luca, and the goldsmiths Piero del Miglior and Niccolo del Lucia.
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Further to the east of these is a three-storeyed teaching block and behind this a single-storeyed teaching block which runs through to Hume Street. The Empire Theatre's elevation facing Neil Street is in a 1930s Art Deco style finished in plain plaster work over brick. The form of this section of the building is a simple cube with a step back at the front to form a parapet. The height of the building is accentuated by the use of equally positioned projecting pilaster elements running across the front, down the sides and across what was the front of the 1911 theatre.
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A misunderstanding of the nature of a pilaster in this print, which shows a putto wrapped round one as though it were a thin sheet, unattached to the wall behind, perhaps suggests that his understanding of the Italian style was derived purely from prints, books and other objects brought back to France.The Annunciation, Eisler no. 12; see Zerner (1994) p.211. Blunt however points out that one borrowing from Raphael reflects the original in Italy, rather than the several print copies of it, concluding that either Duvet saw the original, or an unknown drawing of it.
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The rebuilding seems to have been carried out in two stages, though without a long gap between them. There is a straight joint in the brickwork to the left of the second pilaster on the north side. In front of this the bricks are laid in English bond, but Flemish bond is used towards the back, indicating that this part was built a little later. The Manor House (then Brook House) in the 1840s from Lipscomb's History of the County of Buckingham (1847) The house is built of red brick with two storeys and an attic.
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Behind the facade the levels above the ground floor are recessed, previously providing a light well adjoining Hesketh House (now demolished). The northern face of the building is plainly rendered and has predominantly square openings apart from a couple of arched ones. Internally the building was linked with neighbouring Hesketh House when it was constructed, and these links remained at the front of the building on the ground floor and two of the upper levels until Hesketh House was demolished. Some sections of ornate plaster ceiling and a pilaster capital remain towards the rear of the ground floor.
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The English aristocrat Peter Yarvis of Sandwich endowed a chapel in 1720; in memory of his namesake, the altar has a marble relief depicting St Peter receives the Keys from Christ. The last chapel has a canvas of San Michele dei Santi. The pilaster niches houses statues of canonized Kings (first four in marble; latter two, stucco): Ferdinand III of Castile, Henry II, Holy Roman Emperor of Germany; Louis IX of France; Edward the Confessor of England; Leopold III, Margrave of Austria; and Casimir of Poland. Suppressed by Napoleon in 1808, the parish remained without clerics till 1848.
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The pavilion has trabeated six-over-six sash flanked by blind bays at its end, and the end bays have circular bas-reliefs, depicting, from east to west, "Industry" as a workman amid gears and cogs, the city seal, "Commerce", as a figure of Mercury with a caduceus, "Force" as a Roman gladiator, and Justice. In the pilaster capitals are two designs, one of which features a prominent eagle. The marble frieze below the roofline has a regular pattern of decorated discs with swags at the pavilion ends. Above it is a modillioned cornice with carved leaves and bead-and-reel moldings.
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On Belvidere Street, to the southwest of the brew house, is the engine–machine building, built as a two-and-three-story structure in 1885. It also contained brick archivolts; a projecting pilaster separating the building's two bays; and a cornice made of brick. The three-story portion is located just southwest of the main brew house, and their facades are flush with each other. The northeastern half of the engine–machine building contains extra-high first- and second floors, such that the third floor of this building aligns with the fourth floor of the main brew house.
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In architecture the capital (from the Latin caput, or "head") or chapiter forms the topmost member of a column (or a pilaster). It mediates between the column and the load thrusting down upon it, broadening the area of the column's supporting surface. The capital, projecting on each side as it rises to support the abacus, joins the usually square abacus and the usually circular shaft of the column. The capital may be convex, as in the Doric order; concave, as in the inverted bell of the Corinthian order; or scrolling out, as in the Ionic order.
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In the course of this work, the buildings in the back were demolished, restoring the small Sant'Agata chapel to its original free-standing state. The exterior has bichrome marble bands which re- use Roman stones. The façade, designed in the 12th century, but completed in 14th maybe by Giovanni Pisano, has two corps with pilaster strips, blind arches, marble intarsias and three orders of loggias in the upper section. The interior is on the Latin cross plan with a nave and two aisles divided by columns in granite from Elba, an apse and a dome on the crossing with the transept.
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The west wall has one of the original Norman pilaster buttresses, a 15th-century doorway and the marks of the original gabled roof line before the roof was raised in 1828. The south wall has pieces of the cluster of round pillars of the original Norman church, which were removed in 1828 and inserted in the wall when it was heightened. The large arch, which opened into the chantry, is now filled in. The east wall has 12th century work in its lower part with the external south-east angle of the 12th century chancel still projecting from the present wall.
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The Holy Trinity Church (1926) is a free-standing structure located on the east side of "calle Marina" at the intersection of "calle Mayor" and "calle Abolición", a public area formed by the merging of "calle Marina" and "calle Mayor". The building follows the typical cruciform plan, created by a double- height nave with a crossing situated just west of the semi-circular apse. The nave incorporates an interior balcony addition above the main entrance. Concrete pilaster masses along the side walls support a concrete plate which, in turn, supports the wooden king trusses of the exposed roof construction.
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The keep is built from courses of local, brown carrstone rubble with oolite ashlar facings, and is strengthened with intramural timbers, laid down within the stone walls to reinforce the structure. Its main body is by wide, with walls approximately high, with a forebuilding running along the east side. It has prominent pilaster buttresses, giving the keep what Sidney Toy describes as an "impression of strength and dignity"; the corners have clasping buttresses, forming four turrets.; There is extensive Romanesque detail on the outside of the keep, including arcading along the west side and decorative stonework on the forebuilding.
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Nebraska Medal of Honor Plaque, Nebraska Hall of Fame, Nebraska State Capitol, Memorial Chamber. In 1969, the Nebraska State Legislature amended the Nebraska Hall of Fame statutes "to provide that Nebraskans awarded the Medal of Honor shall be named to the Hall of Fame" and required that the Hall of Fame Commission procure a plaque with the names of the Medal of Honor recipients. On May 5, 1974, the State of Nebraska officially inducted 57 Nebraska Medal of Honor recipients to the Nebraska Hall of Fame. The commission placed a bronze plaque by J.H. Matthews on the southwest pilaster of the Great Hall of the Nebraska State Capitol.
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The former Ethan Allen Engine Company No. 4 building is located just north of Burlington City Hall, on the west side of Church Street between Main and College Streets. Its front facade faces Church Street, but it also presents a designed facade to City Hall Park, which is located directly behind it. It is three stories in height, built out of red brick, in a commercial variation of the Richardsonian Romanesque style. The facade facing Church Street has two former equipment bays on the ground floor, now converted to commercial storefronts, which art articulated by pilaster-like brick pillars set on granite block piers with red rusticated stone base and capital.
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A street scene in Djenné from Timbuctoo: the Mysterious by Félix Dubois published in 1896. Djenné is famous for its Sudanese-style architecture. Nearly all of the buildings in the town, including the Great Mosque, are made from sun-baked earthen bricks which are coated with plaster. The traditional flat-roofed two-storey houses are built around a small central courtyard and have imposing façades with pilaster like buttresses and an elaborate arrangement of pinnacles forming the parapet above the entrance door. The façades are decorated with bundles of rônier palm (Borassus aethiopum) sticks, called toron, that project about 60 cm from the wall.
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The main entrance, located in the center of the north wall and flanked by two small apertures, is marked by a large arch resting on piers and crowned by an Attic style pilaster. The solemnity of the portal is reinforced by the simplicity of moldings on the surfaces, the blind arcade and horseshoe arches in the lower level and the niches in the upper level of the archivolt, reflecting the motif of the cornice. Inside there is a large courtyard surrounded by arcades on all four sides. The north portico still retains its original ogival arches supported by stone pillars, while the other arcades have arches on Corinthian columns.
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1911 Art Nouveau First registered landlord was Johann Erdmann. In the 1910s, the owner of the house was a pastor, Carl Bötticher, in charge of the nearby parish of Wilczak evangelical church, today's Church of Divine Mercy No. 68. In 1915, he got retired and moved from Nakelerstarße 66 to Dantzigerstraße 159. Like many buildings from this architectural hinge period, the facade presents elements of nascent Art Nouveau (portal pediment with floral decoration, wrought iron balconies, remnants of top pilaster decoration) in its fading glory, but also other eclecticist influences (uniformity of openings and dormers, perception of verticality with a majority of straight-up lines).
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The facade has, on the next three stories, a group of three windows on either side of a slightly recessed central bay blind except for a large terra cotta tablet on the second story with the inscription "Griggs Building". Above it, on the third story, is another tablet with the date of construction, 1884, in a frame topped by a pediment. Corinthian pilasters divide the windows on all three stories, supporting a plain entablature running across all three. Below the third- and fourth-story windows are terra cotta panels with a festoon carving in the middle surrounded by bead and reel, a motif that continues in the pilaster capitals.
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Examples of his work include a painted, floral pilaster decoration in the central room of Wallington Hall in Northumberland, home of his friend Pauline Trevelyan. The stained glass window in the Little Church of St Francis Funtley, Fareham, Hampshire is reputed to have been designed by him. Originally placed in the St. Peter's Church Duntisbourne Abbots near Cirencester, the window depicts the Ascension and the Nativity.Malcolm Low & Julie Graham, The stained glass window of the Little Church of St. Francis, private publication August 2002 & April 2006, for viewing Fareham Library reference Section or the Westbury Manor Museum Ref: section Fareham, hants; The stained glass window of the Church of St. Francis.
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Tait's acclaimed Royal Masonic Hospital at Ravenscourt Park in London (later the Ravenscourt Park HospitalRavenscourt Park Hospital today is a listed building, although it now appears to be closed ) won him a RIBA award for the best building of 1933. This Moderne brick edifice features nautical-style curved sun porches and balconies, elongated sculpted figures atop the door pilaster. It has been likened to Willem Marinus Dudok's Hilversum Town Hall of 1931. Burnet, Tait & Lorne continued to build in the curved Streamline Moderne style, as evidenced in Tait's whitewashed Hawkhead Hospital for Infectious Diseases in Paisley (1932), which also features curved, nautical balconies and railings, streamlined corners and horizontal bands.
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An open-sky bifora (San Francesco, Lodi, Italy) A bifora is a type of window divided vertically in two openings by a small column or a pilaster; the openings are topped by arches, round or pointed. Sometimes the bifora is framed by a further arch; the space between the two arches may be decorated with a coat of arms or a small circular opening. The bifora was used in Byzantine architecture, including Italian buildings such as the Basilica of Sant'Apollinare Nuovo, in Ravenna. Typical of the Romanesque and Gothic periods, in which it became an ornamental motif for windows and belfries, the bifora was also often used during the Renaissance period.
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Facade The arcade of the former mosque blended in the church; its horseshoe arches rest on 6 reused Roman capitals and one Visigothic pilaster The Visigothic decorative reliefs, the faces were scraped by the Muslims. The Iglesia de El Salvador is a church in Toledo, Spain completed in 1159. Although the church is small, it is an exceptional building, because it was the site of 4 successive constructions, one on other and so on. It's a 12th- century church built on an 11th-century Taifa mosque, which was an expansion of a 9th-century Umayyad mosque and in turn on a Visigothic religious building.
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I am beautiful, also known as The Abduction, is an 1882 sculpture by French artist Auguste Rodin, inspired in a fragment from Charles Baudelaire's collection of poems Les Fleurs du mal. The sculpture appears in The Gates of Hell, specifically in the right pilaster, made from joining Crouching Woman and The Falling Man. This group shows the woman with her back to the audience, in a round-like shape, and the man holding her in a manner reminiscent of the mythological deity Atlas. In this and several other pieces, Rodin wants to express a morbid and erotic vision in which sexual satisfaction is unreachable.
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Detail of an atlas in St. George, Hamburg Atlantes of the Casa degli Omenoni, Milan Atlantes depicting the Moors defeated by Charles V, Porta Nuova, Palermo In European architectural sculpture, an atlas' (also known as an atlant, or atlante Hersey, George, The Lost Meaning of Classical Architecture, MIT Press, Cambridge, MA, 1998 p. 129 or atlantid; plural atlantes)Aru-Az , Michael Delahunt, ArtLex Art Dictionary , 1996–2008. is a support sculpted in the form of a man, which may take the place of a column, a pier or a pilaster. The Roman term for such a sculptural support is a telamon (plural telamones or telamons).
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Catterfeld starred alongside Eliza Bennett, Rosemary Harris, and Matthew Macfadyen in the international co-production The von Trapp Family: A Life of Music, released in November 2015. A remake of the 1956 German film that in turn inspired the Broadway musical The Sound of Music (1959) and the 1965 film of the same name, she plays Maria von Trapp, the stepmother and matriarch of the Trapp Family Singers. Critics dismissed the film as "clichéd heimatfilm". In 2016, Catterfeld appeared in the role of Nora Pilaster in the ZDF mini series A Dangerous Fortune, based on British author Ken Follett's 1993 novel A Dangerous Fortune.
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Cross-section of the castle motte, by Thomas Kerrich in 1782, showing the pilaster buttresses and battlements of the bailey walls, and the west gatehouse of the castle. The walls are now much lower and only the foundations of the gatehouse remains. After 1537, Thomas Howard, the Duke of Norfolk, leased the ruins of the castle and the adjacent priory, which had been closed during the Dissolution of the Monasteries. His grandson, Thomas Howard, sold the properties to the financier Sir Thomas Gresham in 1558, and in turn they were purchased by first Thomas Cecil, the Earl of Exeter, and then in 1615 to Sir Edward Coke, a prominent lawyer.
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The concealed entrance to a priest hole in Partingdale House, Middlesex (in the right pilaster)Some have suggested that this rhyme refers to priest holes—hiding places for itinerant Catholic priests during the persecutions under King Henry VIII, his descendent Edward, Queen Elizabeth and later under Oliver Cromwell. Once discovered the priest would be forcibly taken from the house ('thrown down the stairs') and treated badly. Amateur historian Chris Roberts suggests further that the rhyme is linked to the propaganda campaign against the Catholic Church during the reign of Henry VIII.C. Roberts, Heavy words lightly thrown: the reason behind the rhyme (Granta, 2004), p. 23.
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Metal figure, probably an import, is gilded, as well as all stucco decoration. On the top of pilaster strips, above the windows of the first floor and in the amount of ground-floor windows on the side walls there is a number of reliefs in the form of female masks, while the mask of Mercury is positioned above the entrance. The unity of architecture and applied decorative arts in the interior of the Belgrade Cooperative building is clearly visible. That kind of unity is particularly valued in European architecture from the late 19th and early 20th century and is known as the "synthesis of art".
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A drawbridge on the northern side of the outer bailey, now replaced by an earth causeway, linked it with the inner bailey. The oval inner bailey was formed by scarping and counter-scarping the natural contours of the hill, producing a bank, now largely destroyed, and a protective ditch. The early 13th-century curtain wall is mostly of roughly dressed, coursed stone, up to thick and high, with two sections repaired with ashlar facings.; ; The wall was defended by six mural towers along its southern and western sides, of which three still survive reasonably intact, and strengthened with pilaster buttresses along the northern edge.
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Further south, there are two towers, one of them with the remnants of a church within it. Across a small stream, there is a congregational mosque built in 1927 on the place where once a Christian church—survived as pilaster capitals and a stone plate with the cross in a two-tier frame—stood. Some 2 km north of the village, upstream the Zanavi, there are the ruins of a medieval church, probably the same monastery that is mentioned in the vita of St. Seraphion of Zarzma. A scattered pile of richly ornate stones once decorated a large church building the façades of which were enclosed in blocks of hewn stone.
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8m inside the nave) is notable.Anglo-Saxon Churches A porticus to the south has been lost, but otherwise the structure of the building seems complete in its final Anglo- Saxon state. The pair of angels flying horizontally, in relief at about half life-size, probably flanked a large sculptural group of the Crucifixion, perhaps over the chancel arch.Backhouse, Turner and Webster, 130 The arcading on the exterior walls is produced, not by incision (as thought by Jackson and Fletcher),noted architectural historians: Fletcher (Eric George Molyneux) and Jackson (Edward Dudley Colquhoun) but by setting the massive stone pilaster- strips forward from the wall-face.
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The front facade of the hermitage, with main entrance, cross and pilaster-like buttresses with gargoyles The Hermitage of Restelo () was already in disrepair when Vasco da Gama and his men spent the night in prayer there before departing on their expedition to the Orient in 1497.Centro de eLearning do Instituto Politécnico de Tomar (2011), p.1 The canonical foundations of the Monastery of Santa Maria de Belém were established in 1496 at the hermitage, which belonged to the Order of Christ. Two years later, the buildings were donated by royal proclamation to the Order of Saint Jerome, which occupied them in 1499.
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Robert Beaumont controlled the castle in 1188, when he passed it onto Robert, Earl of Gloucester, who carried out work on it in 1137. A small, square keep across with pilaster butressses at the corners, was built from stone rubble on the top of the motte, probably at the beginning of the 12th century.; The bailey was protected by a stone curtain wall, known to have been thick in places. During the civil conflict known as the Anarchy in the 1140s, Wareham Castle lay on the border between the territories of the rival claimants for the throne, Stephen and the Empress Matilda, and the location of the regional mint.
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The five-story Renaissance style limestone town house was designed by Carrère and Hastings, who were also responsible for the design of the New York Public Library, and is regarded as one of their finest residences. The design of the limestone-clad building, which unusually for a Manhattan town house offers a finished side elevation as well as its street front, is strongly influenced by 16th- and 18th-century Italian palazzo details. The ground floor has pronounced banded rustication, a motif which is taken through the three floors above in the pilaster-like quoining at each corner of the building. The first floor piano nobile is evident by its large casement windows proportionately taller than those below or above.
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Wren never came to supervise the structure as it was being erected by the stonemason he had recommended, Christopher Kempster of Burford.Seven letters of Wren to John Fell, Bishop of Oxford, and other documents were published in Wren Society 5 (1928). Tom Tower seen from immediately adjacent to the St Aldates entrance to Tom Quad Christ Church, beneath Tom Tower, looking in towards Tom Quad. In 1732–34, when William Kent was called upon to make sympathetic reconstruction of the east range of Clock Court in Wolsey's Tudor Hampton Court Palace, he naturally turned to the precedent of Tom Tower for his "central ogee dome with its coronet of pilaster-like gothick finials".
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The 15th story is treated as a transitional story to the building's "capital", with terracotta bands below and along the 15th floor. The facades of the 16th through 18th stories are ornamented with terracotta on the Broadway and Chambers Street sides, and consist of plain brick on the north and west sides. The 16th and 17th stories form a loggia, with one arch in each bay; decorative pilasters with red-and-green panels between the arches; and ornamental iron balconies at the 16th floor. The facade of the 18th floor contains one square- headed window in each bay, Hermes heads on the top of each pilaster, and lions' heads at the corners.
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Alberti did not concern himself with the practicalities of building, and very few of his major works were brought to completion. As a designer and a student of Vitruvius and of ancient Roman remains, he grasped the nature of column and lintel architecture, from the visual rather than structural viewpoint, and correctly employed the Classical orders, unlike his contemporary, Brunelleschi, who utilised the Classical column and pilaster in a free interpretation. Among Alberti's concerns was the social effect of architecture, and to this end he was very well aware of the cityscape. This is demonstrated by his inclusion, at the Rucellai Palace, of a continuous bench for seating at the level of the basement.
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The current church is built on the mosque, so it is oriented southeast in direction toward Mecca. For which construction, different elements of the previous Visigothic building were reused, because of that a horseshoe arcade supported on Visigothic pilasters has been preserved with sculpted decoration of figurative themes, unusual in this type of remains. The Pilaster of El Salvador, shows in one of its faces various Visigothic miraculous scenes from the life of Jesus: the Cure of the Blind, the Resurrection of Lazarus, the Samaritan and the Hemorroísa, as well as other themes of eucharistic hue that alluding to Christ as the salvation. Its crude treatment shows the abandonment in which the work had fallen on the stone.
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The concealed entrance to a priest hole in Partingdale House, Middlesex (in the right pilaster) A priest hole is a hiding place for a priest built into many of the principal Catholic houses of England during the period when Catholics were persecuted by law in England. When Queen Elizabeth I came to the throne in 1558, there were several Catholic plots designed to remove her and severe measures were taken against Catholic priests. Many great houses had a priest hole built so that the presence of a priest could be concealed when searches were made of the building. They were concealed in walls, under floors, behind wainscoting and other locations and were often successful in concealing their occupant.
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Vidhyadhara celebrated his success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple, dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in the temple mentions the name of the builder of the temple as Virimda, which is interpreted as the pseudonym of Vidhyadhara. Its construction is dated to the period from 1025 and 1050 AD. All the extant temples including the Kandariya Mahadeva Temple were inscribed in 1986 under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation and under Criterion V for the culture of the Chandelas that was popular till the country was invaded by Muslims in 1202.
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Australian motifs were popular in the Queen Anne Revival or Federation architectural style of the period, but the black swan is rarely seen among the kookaburras, eucalyptus leaves and rising suns.Fraser, H., and Joyce., R., The Federation House: Australia’s own style, Lansdowne, The Rocks 1986 In 1913, the sculptor William Priestly MacIntosh carved a "coat of arms" for each state on the pilaster capitals of the façade of the new Commonwealth Bank headquarters on Pitt Street, Sydney.Earnshaw, Beverley, An Australian sculptor : William Priestly Macintosh, Kogarah Historical Society, Kogarah 2004 He included a black swan on a shield for Western Australia, 56 years before the state was granted a coat of arms of a similar design.
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In 2010, a complete African mahogany pilaster from the first class lounge, fluted with an intricate gilt acanthus motif and intact rams head capital, was discovered and restored to its former glory. Since 2012, it has been on permanent display in the Discovery Museum's Segedunum Annex at Wallsend, just a few hundred yards from where it was carved and installed in the Swan Hunter fitting out basin, over a century earlier. Many examples of the liner's fixtures and fittings exist in private collections as well, including large sections of moulding, panelling, ceilings, samples of her turbine blades and much more. Mauretania is remembered in a song, "The fireman's lament" or "Firing the Mauretania", collected by Redd Sullivan.
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Madonna di Loreto, by Caravaggio A very prominent work of art presently in the church is the Madonna di Loreto in the Cavalletti Chapel (first chapel on the left), an important early Baroque painting by Caravaggio.John Varriano, Caravaggio: The Art of Realism (University Park, PA: Penn State Press, 2010), pp. 44-46. John T. Spike, Caravaggio: Catalogue of Paintings (New York-London: Abbeville Press, 2010), pp. 148-150. The church also contains a Guercino canvas of Saints Augustine, John the Evangelist and Jerome; a fresco of the Prophet Isaiah by Raphael on the third pilaster of the left naveRestored by Daniele da Volterra, as quoted in A Handbook of Rome (1871), page 128.
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The main body of the building is in the Victorian Italianate style, with apricot painted ashlar render, arched windows and pilaster details. First completed in 1879, it has s extensions to the rear, along the western boundary in stretcher bond, face, reddish-brown brickwork and has a predominantly hipped, corrugated steel roof with a gable at the northern end. There is a later addition along the western wall with the extension of private post office boxes comprising a covered, raised verandah with attached ramp to the footpath, beneath the widened eaves of the s extensions to the rear. This extension has a round head picket fence along the boundary and is supported by plain, squared timber posts.
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In the stairwell, on the landing of the first floor, stands the impressive figure of a male term. Half man, half pilaster, his face grimacing and his hands holding a cushion placed on his head to reduce the pain, this term was condemned to support the weight of the console. Although a symbol of knowledge in the sense that it alludes to mythology (Atlas and Hercules), this motif also amuses thanks to an association of opposites, such as the straining muscles and the soft cushion. Cariatid termes and other telamons were much appreciated in Renaissance Toulouse, notable examples can be found on the windows of Hôtel du Vieux-Raisin and on the main gate of Hôtel de Bagis.
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Further to the east and adjacent to the main palace was an Orangery and the one-storey building called Margrave House. The Orangery, which was equipped with huge glasshouse windows, was connected to the main building by a small secret passage, so that the Royal Family and the courtiers could walk to the chapel without getting their feet wet. The palace chapel stood in the middle of the two buildings, and has an exaggerated copper spire, a pilaster-decorated façade facing the riding ring, and a heavily carved gable featuring a bust of Frederik IV in relief carved by Didrick Gercken. On the other side of the church was the Courtiers Wing ("Kavalerfløj"), residences for the court's clerks and members of the Royal Household.
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A long-standing correspondence between New York City- based author Helene Hanff and the staff of a bookshop on the street, Marks & Co., was the inspiration for the book 84, Charing Cross Road (1970). The book was made into a 1987 film starring Anne Bancroft and Anthony Hopkins and also into a play and a BBC radio drama. 84 Charing Cross Road, located just north of Cambridge Circus, has not been a bookshop for many years; at street level it is now a restaurant (entered round the corner in Cambridge Circus), but the upper levels of the building remain as originally constructed. A small brass plaque, noted by Hanff in her book "Q's Legacy", remains on the stone pilaster facing Charing Cross Road.
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This is expressed externally as a truncated triangular pilaster, which runs in an unbroken line from an expressed balcony form at the level of the 2nd floor to the facade setback at the level of the 12th (or roof) floor. These pilasters continue in an abbreviated form against the face of the 12th floor setback, the overall effect being one of a major vertical emphasis and one of symmetry. The windows to the main office floors are of particular interest, being A. S. Spiers patent box frame types of Queensland Maple, which allow the sashes to be reversed for cleaning. Steel windows are used to the light well of the building, providing some measure of daylight to the toilets, main stair and rear office areas.
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A compound crown molding built up out of several individual trim elements Decorative pilaster of natural cherry hardwood topped with crown molding Crown molding may be a complex build-up of multiple trim elements, in this case built-out slightly above a window with short 90-degree returns The relief on this short 90-degree return of crown molding was back-cut with a coping saw Crown molding is a form of cornice created out of decorative molding installed atop an interior wall. It is also used atop doors, windows, pilasters and cabinets. Historically made of plaster or wood, modern crown molding installation may be of a single element, or a build-up of multiple components into a more elaborate whole.
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There a three well executed, tiered gopuras (tower over entrance) over as many entrances. Sculpture in the temple includes those of mythological figures in wood and pilaster, and that of kings and queens in black stone. The popularity of the temple is supported by a local saying: "people with eyes must see Kanakagiri and those with legs, Hampi", an affirmation that the Kanakachalapathi temple is a delight to the eyes where as one needs to tread tirelessly to enjoy the architectural wonders of near by Hampi (UNESCO World heritage cite), the royal centre of Vijayanagara, the capital of the Vijayanagara empire. In the months of February and March, during the Phalguna season, the temple hosts a popular fair called the "Kanakachalapathi fair" (Jatra) .
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The storeys are divided by projecting stone string courses, and at each successive storey, the walls become slightly thinner, creating a step at each string course. The vertical pilaster strips continue up the tower, and are interspersed with stone strip arches at lower level and triangular decoration at upper level, in some instances resulting in a criss-cross pattern. In the 12th century the small Anglo-Saxon chancel, narrower than the tower,Richmond, 1986, page 176Fisher, 1969, page 45 was razed and replaced by a nave so that the tower now stands at the west end.Pevsner & Cherry, 1973, pages 195-196 This nave was enlarged later in the 12th century and then renovated in the 13th and early 14th centuries.
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Shaw died suddenly in 1871, leaving the house to his brother Benjamin, who lived at Cowick Hall until 1889. Benjamin Shaw remodelled the interior of the main house, and during this process "destroyed much of the splendour of the house," according to the Bishop of Sheffield David Lunn, who wrote a history of the surrounding area. Despite the unfortunate changes to the interior, Nikolaus Pevsner wrote that the main fronts of Cowick Hall were among the most accomplished 17th-century country house designs in England. Pevsner noted the decorated "cornice supported on pairs of large acanthus brackets above each pilaster," with the giant carved and painted achievement of the Dawnay family with their motto TIMET PUDOREM ("he fears shame") above the door.
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The fourteen yokes are connected by links and bolts to three anchorage girders using a pattern of 4-6-4, and these girders bear against the top of the anchorage pits. From the anchorage, the ropes run upwards, over a shoulder casting which bears on the thrust block, leave the sandstone pilaster, run directly to the tower where they turn again on turning saddles which have roller bearings, and cross the span with a low point approximately one metre above deck level. In plan the cables angle inwards from the anchorage pits till they leave the towers, and then form a curve back to the tower on the far side of the bridge. This curve is created by the plane of the suspension hangers.
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The three interconnected houses at the corner of the Stiftstraße and Prinz- Christians-Weg were built in 1904 according to plans by Joseph Maria Olbrich. The corner house (with pilaster strips made of bricks) and the “Blue House” (the ground floor is covered with blue-glazed tiles) were erected to be sold, while the “Grey House”, also known as the “Preacher House”, (which has a dark rough plaster surface) was designed as a residence for the court preacher. Olbrich designed the interior of the Grey House; Paul Haustein and Johann Vincenz Cissarz were responsible for the décor of the Blue House and some rooms of the corner house. The three houses were intended to demonstrate living possibilities for the middle classes.
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The treatment of the top of the dividing pilaster on number 71 is different: it lacks a bracket to the cornice. As with the other 1860s houses, they both have first-floor balconies with foliage-pattern ironwork. The seven houses at numbers 101–113 also have three windows to each of three storeys, and the same general layout and materials. Some details are different on individual houses: there is no rustication to the pilasters at numbers 105 and 107; the cast-iron second- floor window-guards are absent on three houses; some mouldings are altered or absent; one of the pilasters at number 103 is decorated with an urn; and number 101's entrance is in a porch at the side.
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Burns Philp and Company building at Townsville in 1901 The former Burns, Philp and Company Ltd building, located on the southern corner of Flinders and Wickham Streets with Ross Creek at the rear, is a rendered masonry building consisting of a two- storeyed corner section with an adjoining three-storeyed section along Flinders Street. The two-storeyed corner section consists of five arched bays along Wickham Street, a corner bay and two bays along Flinders Street. Each bay is separated by a pilaster, with a deep cornice between floors and at the roofline concealing a hipped corrugated iron roof. Originally an open arcade, the arched bays have been enclosed with metal framed glazing with an open corner entrance at the ground level.
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Each column and pilaster is carved with wide, deep bases crowned with capitals that are partly hidden by brackets on three sides. Each bracket, except for one, has carvings of human figures standing under foliage in different postures, of male and female mythological characters, and an attendant figure of a dwarf. A moulded cornice in the facia, with a dado of blocks below it (generally long), has about thirty compartments carved with two dwarves called ganas. Layout of Cave 3 temple; 1: Vishnu; 2: Trivikrama; 3: Vishnu on sesha; 4: Vishnu avatar Varaha rescuing earth; 5: Harihara (half Shiva, half Vishnu); 6: Vishnu avatar Narasimha standing; 7: Garbha ghriya (sacrum sanctum); Blue O: ceiling carvings of Vedic and Puranic Hindu gods and goddesses.
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An anta capital is the crowning portion of an anta, the front edge of a supporting wall in Greek temple architecture. The anta is generally crowned by a stone block designed to spread the load from superstructure (entablature) it supports, called an "anta capitals" when it is structural, or sometimes "pilaster capital" if it is only decorative as often during the Roman period. In order not to protrude unduly from the wall, these anta capitals usually display a rather flat surface, so that the capital has more or less a brick- shaped structure overall. The anta capital can be more or less decorated depending on the artistic order it belongs to, with designs, at least in ancient Greek architecture, often quite different from the design of the column capitals it stands next to.
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However, certain material remains reveal the existence in this place of an Islamic construction, which would undoubtedly have to be identified with a mosque. Until very recently, the only testimony of the existence of an Islamic construction consisted of a fragment of arch that, on a Visigothic pilaster, was embedded in the northwest facade of the temple. The reuse of a piece from previous period, combined with the characteristics of the cutting of the arch, allow them to think of an Islamic work dating around 10th century. Once the temple was consecrated to Christian worship, its apse had to be erected, whose formal characteristics would lead it to relate it to that of the Mosque of Cristo de la Luz and, therefore, to date it with a similar chronology: 12th century or early 13th century.
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Currently, it is also the tallest building in Baton Rouge and the seventh tallest in Louisiana. The Capitol's facade was constructed out of limestone from Alabama and is decorated with many sculptures and reliefs, and includes much of Louisiana's symbols and its history. A frieze designed by Ulric Ellerhusen runs along the top of the tower's base, at the fifth floor, depicting the actions of Louisianans in wartime and peace, from colonization to World War I. Between each pilaster on the outside of the House and Senate chambers is one of twenty-two square portraits of important persons in Louisiana history. The portraits were divided up among several New Orleans sculptors: Angela Gregory worked on eight, Albert Reiker on six, John Lachin and Rudolph Parducci jointly on six, and Juanita Gonzales completed two.
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The land, and possibly the house, was a wedding gift to Hammond and his wife, Emily Vanderbilt Sloane, from Sloane's father, William J. Sloane of W. & J. Sloane. The five-story Renaissance style limestone town house was designed by Carrère and Hastings, who were also responsible for the design of the New York Public Library Main Branch, and is regarded as one of their finest residences. The design of the limestone-clad building, which unusually for a Manhattan town house offers a finished side elevation as well as its street front, is strongly influenced by 16th- and 18th-century Italian palazzo details. The ground floor has pronounced banded rustication, a motif which is taken through the three floors above in the pilaster-like quoining at each corner of the building.
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The architectural character of Anglo-Saxon ecclesiastical buildings range from Celtic influenced architecture in the early period; Early Christian basilica influenced architecture; and in the later Anglo-Saxon period, an architecture characterised by pilaster-strips, blank arcading, baluster shafts and triangular headed openings. In the last decades of the Anglo-Saxon kingdom a more general Romanesque style was introduced from the Continent, as in the now built-over additions to Westminster Abbey made from 1050 onwards, already influenced by Norman style. In recent decades architectural historians have become less confident that all undocumented minor "Romanesque" features post- date the Norman Conquest. Although once common, it has been incorrect for several decades to use the plain term "Saxon" for anything Anglo-Saxon that is later than the initial period of settlement in Britain.
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Payment records, supported by stylistic evidence, indicate that his principal contributions (1436–38) to this project included a handsome stone doorframe and an unusual cross window, both of which are identifiable today. It also is possible that he proposed the addition of the pilaster strips which divide the surfaces of the loggias of the two-storey courtyard into a systematic grid. Documents indicate that Bernardo assumed a more decisive role at the suburban monastery of Santa Maria alle Campora whose cloister (1436) challenges that of Michelozzo at San Marco as the first such structure to have been erected in accordance with a Renaissance aesthetic. In 1444, he received a commission to sculpt two altar figures for the oratory of the Annunciation in the church of St. Stephen in Empoli.
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Above it is a simple double hung sash window. On each story of the west half of the hip roof section is centered a single window similar to those on the gable end. Windows on the east, west and south sides of the building are long, narrow, have jigsaw cut detailing in the decorative arch above them, and are topped with a segmented reliving arch. Classical detailing includes: a boxed cornice on the main roofline and on that of the brick entry which is completely supported by brackets except on the T addition; the pediment over the entrance supported by a classical pier and pilaster which has a fan type of decoration on the tympanum; and dentils which line the lower edge of the transom of each single sash window.
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The eastern wall is about a meter (3 ft) in thickness and is strengthened on the exterior by eighteen pilaster like buttresses, each of which is topped by a pinnacle. The corners are formed by rectangular shaped buttresses decorated with toron and topped by pinnacles. The prayer hall, measuring about , occupies the eastern half of the mosque behind the qibla wall. The mud- covered, rodier-palm roof is supported by nine interior walls running north–south which are pierced by pointed arches that reach up almost to the roof.. A photograph by Amir-Massoud Anoushfar showing the arches in the prayer hall is available on the ArchNet site This design creates a forest of ninety massive rectangular pillars that span the interior prayer hall and severely reduce the field of view.
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In Roman mythology, Tranquillitas was the goddess and personification of tranquility, security, calmness, peace. Tranquillitas seems to be related to Annona (the goddess of the corn harvest from Egypt) and Securitas, implying reference to the peaceful security of the Roman Empire. In the Roman context, the characteristics of Tranquilitas reflected the values at the heart of the Via Romana (the Roman Way) and are thought to be those qualities which gave the Roman Republic the moral strength to conquer and civilize the world. Tranquillitas is often depicted with the attributes which seem to again hint at an association with the grain supply (and tranquility then of a placated and satiated population), a rudder and ears of grain, sometimes a modius or a prow, sometimes leaning on a pilaster (decorative column).
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Sthamba buttalika, Hoysala art at Belur bracket at Belur In Hoysala art Hardy identifies two conspicuous departures from the more austere Western (Later) Chalukya art:ornamental elaboration and a profusion of iconography with figure sculptures, both of which are found in abundance even on the superstructure over the shrine. Their medium, the soft chlorite schist (Soapstone) enabled a virtuoso carving style.Hardy (1995), p. 245 Hoysala artists are noted for their attention to sculptural detail be it in the depiction of themes from the Hindu epics and deities or in their use of motifs such as yalli, kirtimukha (gargoyles), aedicula (miniature decorative towers) on pilaster, makara (aquatic monster), birds (hamsa), spiral foliage, animals such as lions, elephants and horses, and even general aspects of daily life such as hair styles in vogue.
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The race had its final running in 2000. Following the introduction of the Graded stakes system in the United States, the Riggs would be a Grade III event from 1973 through 1992.Pimlico Race Course previously graded races Retrieved August 8, 2018 Among the Riggs winners are Buck's Boy (1998) and Little Bold John (1987, 1988) who won it twice on the turf.Baltimore Sun May 24, 1998 article titled "'Boy' has to work for Riggs win" Retrieved August 8, 2018 Laurel Park article titled "Maryland Million Winner Little Bold John 'Hated to Lose" Retrieved August 8, 2018 On dirt, the race attracted top runners such as Pilaster (1949), Stymie (1945), Polynesian (1946), Double Jay, (1947), Seabiscuit (1937) in track record time, Crusader (1926) and Bostonian (1927) won it on dirt.
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A paraphrased 1771 description of the church by Giovanni Battista Vassalli notes: > (The church) situated not far from (town), circa 20 footsteps of Italian > miles in a public road...(The church) is formed to two orders of > architecture: the first Doric ... the top Ionic ... Everything is finely ... > proportioned in its architecture...the interior ... is built in a square > shape, held up by the four pilasters .. which create openings for the main > apse and two lateral chapels; each pilaster has two free standing columns, > and all is finely squared with stucco. A further set of corinthian pilasters support four arches that frame the apses of each chapel, well decorated with stucco. The interior is lit by large windows in the chapel and entrance and eight small circular windows in the cupola. The interior is painted in plain colors.
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Overlooking Piazza Castello, the section built by Juvarra (illustration, right) constitutes today a scenographic façade a single bay deep, screening the rear part of the edifice, which has remained unchanged (illustration, above right). On the exterior, Juvarra expressed what was intended as a magnificent architectural preamble to an edifice that was never built, as a high-ceilinged piano nobile with arch- headed windows, which is linked to a mezzanine above it by a colossal order of pilasters of a Composite order. Each pilaster stands on a sturdy and formal fielded channel-rusticated base against the ashlar masonry of the ground floor. The central three bays are emphasised by the bolder relief offered by full columns attached to the façade, which is returned inward behind them to afford a vast glass-fronted central interior space like a glazed loggia.
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They were also relatively slow to erect, due to the limitations of the lime mortar used during the period – a keep's walls could usually be raised by a maximum of only 12 feet (3.6 metres) a year; the keep at Scarborough was not atypical in taking ten years to build. The number of such keeps remained relatively low: in England, for example, although several early stone keeps had been built after the conquest, there were only somewhere between ten and fifteen in existence by 1100, and only around a hundred had been built by 1216.Hulme, p.213. Norman keeps had four sides, with the corners reinforced by pilaster buttresses; some keeps, particularly in Normandy and France, had a barlongue design, being rectangular in plan with their length twice their width, while others, particularly in England, formed a square.
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In the remains under the church was found this arcade of the first mosque, composed of three columns with Roman and Visigothic capitals Remains of a Christian medieval cemetery The Visigothic pilaster, for some early Christian, is one of the oldest pieces in which are represented 4 scenes of the life of Christ, who despite the scraping of the faces by the Muslims, could be distinguished: Blind, Resurrection of Lazarus, Christ and the Samaritan woman in the well and Hemorroísa Healing. The level of excavation has not gone deep into the Visigoth or Roman substrate. However, already surprised the great amount of Visigothic reliefs forming friezes and Roman cornices embedded in the walls. In 2004 the Consorcio group discovered the remains of the first (Umayyad) Mosque buried several meters under the church, the archaeologists have recovered and valued.
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The Eltzer Hof mansion was built 1742 in the Bleichenviertel (bleaching quarter) and shows a simplicity that is rather rare for that time. The parts of the building are divided by rusticated pilaster strips, covered with a mansard hipped roof and decorated only by two baroque portals. Almost 24 years later, the Golden Ross Barracks were built in the immediate vicinity between 1766 and 1767. In 1774 the Counts of Eltz took over the Dalberg-Hammelburger Hof mansion and merged it with the neighbouring Eltzer Hof, since then the Eltzer yards have also been mentioned. In August 1792 Minister Johann Wolfgang von Goethe visited the Prussian statesman Heinrich Friedrich Karl vom und zum Stein, residing there.Marlene Hübel, »Über all dem der Dom.« Literarische Stadtansichten von Mainz In Franz Dumont, Ferdinand Scherf, Friedrich Schütz (ed.): Mainz – Die Geschichte der Stadt. 2nd edition.
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On either side of the window opening are simple rectangular tablets bearing on the left The Lord's Prayer above the Apostles' Creed and on the right Exodus XX (The Ten Commandments) under which is printed the Summary of the Law. In the middle is a reredos, obviously of non-colonial origin with an opening for the window incorporated within it. It bears, from the top down: 1) a cross placed so as to intersect center of the circular window; 2) a truncated tympanum, 3) a square-columned pilaster on either side of the window, and 4) a bottom forming a flat window sill. The chancel is physically separated from the rest of the church by vertical panels a few feet north and south of the window openings and a rail with 8 turned balusters on either side and a central opening.
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One bas- relief appears to show soldiers bringing booty and captives before a sitting ruler. Others depict the Medici Coat of Arms. The corners have doric pilaster- columns. The 19th-century plaque reads in translation:UNA PARTE DI QUESTO MONUMENTO/ DESTINATO DA COSIMO PRIMO/ AD ONORARE LA MEMORIA DEL PADRE/ GIOVANNI DELLE BANDE NERE/ LUNGAMENTE NON CURATA QUI STETTE/ E IL VOLGO LA CHIAMÒ LA BASE DI SAN LORENZO/ RESTAURATA NELL'ANNO MDCCCL/ E POSTAVI LA STATUA DEL GRAN CAPITANO/ EBBE ALFINE COMPIMENTO LA PREGEVOLE OPERA/ SCOLPITA DAL BANDINELLIOne part of this monument/ destined by Cosimo I/ to honor the memory of his father/ Giovanni delle Bande Nere/ by no choice stood/ and commonly called the Base of San Lorenzo/ Restored in 1850/ and made to host the statue of the great captain/ becoming finally complete the prized work/ sculpted by Bandinelli.
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Portrait of Desiderius Erasmus of Rotterdam with Renaissance Pilaster Erasmus (1466-1536) was the greatest scholar of the northern Renaissance and the most widely influential Christian humanist scholar in history, becoming the most famous scholar in Europe in his day. One of the defining components of his intellectual success was his mastery of Greek. As early as December 1500 while in England, he had written in a letter that his primary motivation for returning to the continent was to pursue studying Greek,Erasmus to Batt, Orléans, 11 December 1500, Ep. 138 (CWE 1:294–300; Allen 1:320–24) and quickly mastered it without a tutor and access to only a small number of Greek texts. In 1505, he translated Euripides' Hecuba and, and in 1506, he translated Euripides' Iphigenia in Aulis, both being published in 1506.
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The house is built of redwood timber on a brick foundation in a primarily Italianate style; it has two stories and twenty rooms, It was designed by Nathaniel Dudley Goodell of Sacramento and built on farmed land; the brick smokehouse and the three- story water tank house, attached to the house in the late 19th century, date to the period of its construction, with the iron doors to the smokehouse reportedly having originally belonged to the Maine Prairie Rifles militia armory, which was built in about 1863. The plan of the house resembles a "Z", with wings at the northeast and southwest corners. The siding is also redwood, with pilaster corners and triangular pedimented gables constituting elements of Greek Revival style. A porch with Tuscan-style columns wraps around the south and east sides of the house, and there is a balustraded balcony on the second floor.
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Inside the house the staircase and some of the panelling and fireplaces in the hall and drawing room date from the 17th-century re-building. The oak staircase opens at the back of the hall through a 17th-century arch and ascends two storeys round a square well. Arthur Oswald describes it as of Jacobean type but likely to have been made by a country joiner at the time of the Commonwealth or Charles II. Pevsner & Williamson, who call it "spectacular", describe it as made in the mid-17th century but in the strapwork tradition. Detail showing the 17th- century brick pilasters and the (later) front door Detail of the capital of the pilaster (17th century brickwork) Arthur Oswald thought that the entrance doorway and sash windows were probably 18th-century alterations made in Georgian times, but Pevsner and Williamson think they might be part of Lord Rothschild's alterations in 1886.
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The building was erected in modernist style, alluding to the style of department stores constructed in the German Empire or Paris. At this time in Bydgoszcz , the "Kaufhaus Conitzer & Söhne" building pioneered the use of reinforced concrete in a modern design. The facade, rhythmically fragmented with pilaster strips, has a majestic entrance onto Gdanska street: it is topped by an ostentatious portico with a pediment surmounted by sculptures inspired by the art of antiquity and depicting allegorical female figures: including Aphrodite - the goddess of beauty and love; Eris - the goddess of discord; Hera - the mother of the gods; and Athena - the goddess of wisdom and war. Intriguing decorative motives stand on the main facade include: a Greek amphora with dangling vine shoots and vases; theatrical masks (tragic and comic); and animal figures (a sleeping cat, a sitting monkey, an owl protecting its two cubs).
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The two houses flanking Lile Strandstræde (No. 9-11 and 13) and No. 15 are also listed, Neoclassical houses from the late 1790s. Both No. 19 and No. 21 were built by Andreas Hallander, one of the most active builders of the period. The latter, known as Ploug House, locasted on the corner with Ved Stranden, was given a more monumental facade than those of the other houses on the square to make it better match Christiansborg Chapel on the other side of the canal. The pilaster motifs are in such numbers that they dominate the entire building and are not limited to a single section of the façade, as was seen in Harsdorff’s House. No. 4: Former home of Johan Frederik Schultz's printing business The large property at No. 4 on the other side of the square, at the corner of Læderstræde, is from 1796-1797 and was originally built as a new headquarters for Johan Frederik Schultz's printing business.
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In the pilaster strips are 19th-century copies of depictions of the Saints Albin, Amicus and Amelius found in a 15th-century polyptych by Paolo da Brescia, a work once in the local church St Albin and now conserved in the Sabauda Gallery of Turin. Inside, in first span on the right there is an anonymous 15th-century fresco representing the Virgin and Child; in the second span, a Virgin between Saints Roch and Sebastian (1524) attributed to Gaudenzio Ferrari. The first chapel houses a panel depicting the Madonna of the Rosary (1578) by Bernardo Lanino; the same author painted a panel is crowned by tablets depicting the fifteen mysteries of the Rosary. The niche is completed by four canvases depicting the Archangel Gabriel and the Virgin of the Annunciation, Flight to Egypt, and Rest of the Holy Family by Giulio Cesare Procaccini, in addition to a canvas of Glory in Paradise attributed to Camillo Procaccini.
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The Ionic anta capital is the Ionic version of the anta capital, the crowning portion of an anta, which is the front edge of a supporting wall in Greek temple architecture. The anta is generally crowned by a stone block designed to spread the load from superstructure (entablature) it supports, called an "anta capital" when it is structural, or sometimes "pilaster capital" if it is only decorative as often during the Roman period. In order not to protrude unduly from the wall, these anta capitals usually display a rather flat surface, so that the capital has more or less a rectangular-shaped structure overall. The Ionic anta capital, in contrast to the regular column capitals, is highly decorated and generally includes bands of alternating lotuses and flame palmettes, and bands of eggs and darts and beads and reels patterns, in order to maintain continuity with the decorative frieze lining the top of the walls.
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Tablet to Thomas Green, and his wife aged 5 [sic] On the south aisle south wall at the west end is a white marble memorial tablet with entablature, set on a grey marble surround, to Samuel Darby (died 1819), and his wife, Frances (died 1837). To its east is a wall memorial as an oval white marble plaque set on a grey marble field, set within a fluted pilaster frame with flower-head devices at the top corners. The plaque is supported below by a fluted shelf held by floriate-carved corbels, with apron between. Above the pilasters is a shelf on which sits a carved marble relief chalice with decorative friezing. This memorial is to Thomas Green, who died 1793, and his wife, Susannah, who died 1801, aged 5 years [sic]. Further to the east is a grey marble oval plaque supported by a single scrolled corbel, to Colby Graves (died 1799, aged 17), and his mother Grace Graves (died 1824, aged 75).
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Buddhist stupas during the late Indo-Greek/Indo-Scythian period were highly decorated structures with columns, flights of stairs, and decorative Acanthus leaf friezes. Butkara stupa, Swat, 1st century BC.Source:"Butkara I", Faccena Possible Scythian devotee couple (extreme left and right, often described as "Scytho-Parthian"),"Gandhara" Francine Tissot around the Buddha, Brahma and Indra. Excavations at the Butkara Stupa in Swat by an Italian archaeological team have yielded various Buddhist sculptures thought to belong to the Indo-Scythian period. In particular, an Indo- Corinthian capital representing a Buddhist devotee within foliage has been found which had a reliquary and coins of Azes buried at its base, securely dating the sculpture to around 20 BC.The Turin City Museum of Ancient Art Text and photographic reference: Terre Lontane O2 A contemporary pilaster with the image of a Buddhist devotee in Greek dress has also been found at the same spot, again suggesting a mingling of the two populations.
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The window over the west entrance; you can see one of the two arcades that connect the western façade to the opposite bell tower. The 1466 Gothic-Catalan style wooden choir and the marble remains of the Gagini's retable (removed during the 18th-century alterations) are also precious, as well as a marble statue of the Madonna with Child by Francesco Laurana and pupils (1469The sculpture is commonly known as Madonna Libera Inferni ("free from Hell"). It received this name in 1576, when Pope Gregory XIII gave indulgence for the Purgatory's souls to the altar in which it is placed. The sculpture was intended for the church of Monte San Giuliano in Trapani, but remained here as the Palermitani refused to deprive themselves of such a beautiful art work.), a 13th-century polychrome Crucifix by Manfredi Chiaramonte, the holy water stoup on the fourth pilaster (by Domenico Gagini) and the Madonna della Scala by Antonello Gagini, on the high altar of the new sacristy.
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At each corner was a colossal fluted Ionic pilaster; the architecturally correct entablature was carried straight across the eaves, broken slightly forward over the entrance bay, where it was surmounted by a pediment. Ionic pilasters marched across the end fronts, three bays deep, whose gables were treated as pediments. The wooden siding was scored to imitate ashlar masonry. It seems that such an unusual design has been adapted from an engraving in one of the illustrated architectural guides, addressed to gentlemen and builders alike, that by 1767 could have filled a library shelf. One such book owned by Charles Ward Apthorp is known, for he inscribed his name and the date 1759 in a copy of a translation of Sébastien Leclerc's architectural treatise that was published in London as A Treatise of Architecture, with Remarks and Observations By that Excellent Master thereof Sébastien Leclerc, Knight of the Empire, Designer and Engraver to the Cabinet of the late French King... Its four dedications were to the Worshipful Companies of Carvers, Joyners, Bricklayers and Masons of London, each represented by their coat-of-arms.
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In 1499 the guild of the cambio (money-changers or bankers) of Perugia asked him to decorate their audience-hall, the Sala delle Udienze del Collegio del Cambio. The humanist Francesco Maturanzio acted as his consultant. This extensive scheme, which may have been finished by 1500, comprised the painting of the vault, showing the seven planets and the signs of the zodiac (Perugino being responsible for the designs and his pupils most probably for the execution), and the representation on the walls of two sacred subjects: the Nativity and Transfiguration; in addition, the Eternal Father, the cardinal virtues of Justice, Prudence, Temperance and Fortitude, Cato as the emblem of wisdom, and numerous life-sized figures of classic worthies, prophets and sibyls figured in the program. On the mid-pilaster of the hall Perugino placed his own portrait in bust-form. It is probable that Raphael, who in boyhood, towards 1496, had been placed by his uncles under the tuition of Perugino, bore a hand in the work of the vaulting. Perugino was made one of the priors of Perugia in 1501.
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In ten panels, divided by pilaster strips in decorated grotteschi, scenes from the life of Saint Cecilia and her husband Valerianus are described.Official tourism site for Bologna, entry on the Oratory of Saints Cecilia and Valentine. The individual attribution of all the panels is not entirely clear; they depict: #Marriage of Cecilia and Valerianus #Valerian converted by Pope Saint Urban #Valerian baptized by the Pope Urban #Saints Cecilia and Valerianus crowned by an angel #Martyrdom of Saints Valerianus and Tiburzio (attributed to Aspertini) #Burial of the Martyrs (attributed to Aspertini) #Trial of Saint Cecilia #Martyrdom of Saint Cecilia #St Cecilia donates all her goods to the poor #Burial of Saint Cecilia Other artist involved in these or later works include Francesco Cavazzoni, Tiburzio Passarotti (Son of Bartolomeo), Cesare Baglioni, Cesare Tamaroccio, Giovanni Maria Chiodarolo, Bartolomeo Bagnacavallo, and Biagio Pupini. The main altarpiece was a Crucifixion by Francia, now held in the Pinacoteca Nazionale di Bologna, as well as a 14th-century fresco once outside the chapel by Giovanni di Ottonello.
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Cloister of Real Colegio Seminario del Corpus Christi, Valencia Although in Syria, Asia Minor and Tunisia the Romans occasionally raised the columns of their temples or propylaea on square pedestals, in Rome itself they were employed only to give greater importance to isolated columns, such as those of Trajan and Antoninus, or as a podium to the columns employed decoratively in the Roman triumphal arches. The architects of the Italian Renaissance, however, conceived the idea that no order was complete without a pedestal, and as the orders were by them employed to divide up and decorate a building in several stories, the cornice of the pedestal was carried through and formed the sills of their windows, or, in open arcades, round a court, the balustrade of the arcade. They also would seem to have considered that the height of the pedestal should correspond in its proportion with that of the column or pilaster it supported; thus in the church of Saint John Lateran, where the applied order is of considerable dimensions, the pedestal is high instead of the ordinary height of 3 to .
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The remains of the Umayyad arcade of horseshoe arches with a limestone in the keystone, characteristic of Caliphate art, next to the minaret whose brickwork resembles the first minaret of the Mosque of Córdoba, show a dating to the first half of the 9th century. Later, as an inscription in the Chapel of Santa Catalina attests, in the 11th century, during the Taifa period a nave was built, it is believed that it was an extension of the space because it had become a main mosque. In 1950 this arcade of horseshoe arches that support on 6 reused Roman capitals and a Visigothic pilaster, was reconstructed on the original arches of the ends. In the 2000s the recovery of the tower's original wall, they removed the covering of a medieval and baroque reforms, it was discovered the original floor of the primitive 9th-century mosque, with its surrounding area containing a courtyard with cistern and its doors, as well as the verification in foundations and walls of the extension documented in the 11th century and consisting of addition of a whole nave whose base is in the current arches of horseshoe arches.
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Arlington Court,Ground Floor; 1: Staircase Hall; 2: Entrance Hall; 3: Morning Room; 4: Ante Room; 5: White Drawing Room; 6: Boudoir; 7: Music Room; 8: Dining Room; 9: Model Ship Lobby; 10: not open; 11: not open; 12: not open; 13: Kitchen (now Restaurant); 14: not open; 15: not open; 16 now Restaurant. The architecture of the house, a severe neoclassical style, which in many ways resembles the architecture made popular in the early 19th century by Sir John Soane, under whom Arlington's architect Thomas Lee trained.Hugh Meller; Arlington Court, published by the National Trust 1988. p11.H Often mistakenly likened to the slightly more flamboyant Greek Revival architecture, the style confines most ornament to the interior of the house, leaving the symmetrical exterior almost unadorned and chaste, relying only on window and door apertures and shallow recesses and apses and the occasional pilaster to relieve the austerity of the facade; at Arlington, this is seen in the shallow twin pilasters terminating the two principal façades, the lack of either aprons or pediments to the windows and, in place of the near conventional classical entrance portico of the era, is a single-story, semi-circular pillared porch.
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