The light pulsed warm and steady up and down the pilasters flanking a broad Roman arch.
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The interiors are entirely Art Deco, and the pillars and pilasters add depth to the place.
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VOLTEFACE obviously stopped me for a bit; UPBRAIDED, PILASTERS, IRATER and ABBESS are all classic, more challenging fill.
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The traditional layout starts with a large foyer decorated with metallic wallpaper, pilasters and a pair of archways.
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The living room has dentil molding and an Italianate bay framed by an elaborately paneled arch and square pilasters.
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The facade has brick and red sandstone from Lake Superior, with a carved terra-cotta lintel and fluted iron pilasters.
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Chile's geography makes those kinds of buildings impossible ... thin walls and slender pilasters crack as the ground shifts beneath them.
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White pilasters rising at intervals set up a pleasing counterpoint to the walnut tracery of the bookshelves holding Neri's collection.
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Passing the staircase and turning left, you find a large living room with pilasters, corbels and a decorative plaster ceiling.
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From England one can trace the dark polished wood paneling with pilasters and arches, antique mirrors, brass details and stucco ceilings.
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Chile's geography makes those kinds of buildings impossible, Aravena says; thin walls and slender pilasters crack as the ground shifts beneath them.
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The sketches Rodin made on the photograph by Eugéne Druet of "Girl Kissed by a Phantom" could be of columns, pilasters, or pedestals.
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Pilasters frame the entrance to the living room; beyond is a family room with French doors and side panels inset with original leaded glass.
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The Palais' regimented, templelike stone facade is filled with Roman-style arches and pilasters, and emblazoned with the names of great Renaissance artists and architects.
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Post-Modernist buildings, those teasing, colorful mash-ups of columns, pilasters and pediments, were both praised and reviled in the 250s and '2100s, their heyday.
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The wide columns and pilasters topped with Ionic capitals caught her eye, as did the carved walnut paneling and detailed plasterwork, both restored and recreated.
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The blueprints showed that these rooftop decorations, known as antefixes, were in fact baseballs, ornaments that echoed the baseball-adorned terra-cotta spandrels above the pilasters.
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Its spirit is Mediterranean with hints of Morocco, but in luxurious rooms replete with moldings, cornices and pilasters, in the Lowell Hotel on the Upper East Side.
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Inside, on the ground level, restoration has just begun and will include the removal of paint that at some point had been slathered all over marble columns and pilasters.
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Visitors will see some remaining elements of the famous "glass drawing room," designed by the acclaimed architect Robert Adam for the duke of Northumberland; it once featured green glass pilasters.
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Both take place in domineering architectural settings, columns and pilasters rhythmically carving out the illusionistic space where the ill-fated heroines appear again and again as their tragic stories unfold.
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Designed by a renowned graduate of the École des Beaux-Arts, Henri Labrouste, the severely austere stone facade reveals only stern Roman pediments, Corinthian pilasters and a few more classical touches.
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Mr. Greenberg drew up a symmetrical floor plan that extends from the three-story, cupola-topped rotunda, and is adorned with pilasters and three sets of Palladian windows across the back.
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What were once banks and factories are now restored commercial and residential buildings, an impressive patchwork of colors and styles restored right down to the molded cornices, marble pilasters and stained glass windows.
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This string of text, in a three-inch typeface, follows the gallery's irregular contours, wrapping around the walls and dodging behind the pilasters, sprinkler pipes, and electrical conduits of the tidy but still raw space.
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Its opulent interior, with pilasters of black and wine-red marble rising up the walls to intersect with a coffered ceiling, is no accident of interior design: it was modeled on a hall in the Doge's Palace in Venice.
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Most of the fabric of the original galvanized-steel pilasters survived, but these too were put aside and meticulously replicated in aluminum, as were the pediments and the cornice, which had been lost in the fire and replaced by fiberglass facsimiles.
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"Atelier, in an effort to satisfy Pereira Sr., agreed to redo the faux marble finish on several of the columns and pilasters with different coloring effects, in accordance with a new sample that Pereira Sr. approved at that time," according to the suit.
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Beyond this room is a 19-by-20-foot dining room with hand-tooled leather wall panels flanked by mahogany pilasters, a marble fireplace, gilded plaster ceiling molding and two sets of French doors with etched glass and transom lights leading to the solarium.
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"Done in the neo-Classical style, with marble columns, pilasters and cornice in a range of hues, this double-height octagonal space was the work of Walter L. Hopkins, who did some of Warren & Wetmore's most distinguished work," Ms. Clark explained, referring to the building's architects.
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It again is supported on pilasters capped by decorative towers. Between the pilasters are vertical rows of three windows. The edges of the building's main facade a framed again by pilasters and topped by (smaller) towers. Another set of windows fills the space between the pilasters.
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The second story features rectangular window openings topped with prominent triangular pediments and flanked with pilasters (attached columns). The pilasters are paneled on the bottom, but fluted with parallel, vertical, linear grooves on the top. This pattern continues on pilasters found in the interior lobby. Windows on the third floor are flanked with plain pilasters, but have molded trim above the openings.
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The former Royal Bank is a substantial two storeyed rendered brick building prominently located on Kent Street, Maryborough. The symmetrically composed principal facade of the building is divided into three bays by round pilasters on square planned plinths. The capitals of the pilasters are of the Corinthian order and from the base to about one third of the overall height, the pilasters are reeded. The central bay is flanked by single pilasters and the pilasters at the corner of the building are paired.
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The second story has tall window openings flanked by sets of pilasters. Paired griffins face each other between the pilasters above the windows. An entablature rests upon the pilasters and encircles the entire building. On Commerce Ave, the entablature appears as an intermediate cornice.
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Tuscan pilasters divide the bays of the lower floor, and Corinthian pilasters divide the upper floor bays. Two dome-like mansard roofs flank the central pediment.
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The central wing with principal entranceway is flanked by pilasters, crowned by ornate pinnacle and surmounted by the coat-of-arms of Archbishop D. Rodrigo Moura Teles. The eastern wing includes two panels of walls separated by colossal Roman-like pilasters. On the left is a doorway flanked by pilasters and decorated by a coat-of-arms in the timpany, between lateral windows, also flanked by pilasters. To the right, there are two porticos flanked identical windows one framed by pilasters, crowned by inscription and coat-of-arms, and the other framed and decorated.
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At street level all the original detailing has been removed, except for the large curved pediments above each entry. The first and second floors are linked by giant order Corinthian pilasters which support a highly moulded frieze and cornice. The central pilasters of each bay have a pediment, which rises above the cornice. On the top floor the line of the large lower pilasters is continued by smaller paired pilasters.
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The end window bays are flanked by incised pilasters. Between the pilasters and above the window bays are incised panels with a carved U.S. shield in the center. The pilasters dividing the central bays are incised at the inside next to the windows. Limestone mutules support a simple cornice.
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Each bay along the sides of the church contains a round-headed window, and between the bays there are Doric pilasters. The east end is in three bays, with the central bay projecting forwards. The bays are again separated by Doric pilasters. The central bay contains a Venetian window with Ionic pilasters.
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Two columns and two engaged pilasters of the Corinthian order visually divide the entry vestibule of the lobby from the corridor area. Four engaged pilasters on the easternmost wall of the corridor mirror the columns/pilasters of the entry lobby. The lobby floors are terrazzo. The walls are painted plaster with marble wainscot to 3'.
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The entrance porch is flanked by two columns with accompanying pilasters, and there are two more pilasters at the corner of the building. Blind doorways between the two sets of pilasters have small pediments and two deep-set windows above them. Below the main pediment and dentil cornice is a Latin inscription: DEO SUB INVOC. S. JOANNIS BAPT.
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Tanner, 2002. The Australian Mutual Fire Insurance Society Building as designed and originally constructed, had ornately modelled facades to each street frontage in the form of pedimented gables supported on Corinthian pilasters. Belted pilasters on the ground floor level contrasted to fluted pilasters on the upper storeys. The splayed corner with an arched parapet connected the two facades.
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The sanctum receives diffused light through pierced window screens flanking the doorway; these features were inherited and modified by the Hoysala builders. The outer wall decorations are well rendered. The Chalukyan artisans extended the surface of the wall by means of pilasters and half pilasters. Miniature decorative towers of multiple types are supported by these pilasters.
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Its pointed arch entrance is sided by brick pilasters. With .
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On the southeast facade it is crowned by a cornice with geometric motifs in relief and decorated by statute of Melpômene over acrotary, with the inscription: 1893 / THEATRO DIOGO BERNARDES. This facade includes three sections, structured by overlapping pilasters, with the central three sections with archway over pilasters with cornice. It forms a flag and window over pilasters, decorated with curvilinear frontispiece with tympanium. The lateral sections with similar door frame and window, also over pilasters is decorated in cornice and ovular oculus.
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Crowning the center bay of the north (Calle Arenas) facade there is a simple triangular pediment with the date "1885" on top. The Calle Arenas street facade presents a certain rhythm in its treatment of pilasters and bays: two pilasters flank each of the central ones, including the one with the pediment, are flanked and separated by a total of six more pilasters. Wherever the pilasters occur on this facade, the wall is slightly set off to the front. The bottom of this rear part is lifted on a podium and the pilasters are surmounted by an entablure with a very simple frieze and architrave.
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Dark red brickwork with full-height brick pilasters and decorative light red brick lintels cornices. Sandstone moulding at base of pilasters. ;Classroom Block Two-storey rendered brick building with neo-classical detailing. Terracotta tiles roof.
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A central pavilion that is framed by fluted Ionic pilasters protrudes from the house. Pilasters also adorn the corners of the main block and a full entablature is returned over the pilasters and defines the pavilion. A gabled dormer is centered over each side bay. The windows have a "Gothick" character and the first-floor widows feature Swan's-neck pediments.
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The corner projections contain a single arched window with Doric pilasters on the second floor and Corinthian pilasters on the third. The corners are topped by a pediment with a tower which contains Doric pilasters and arched pediments. The top of each tower is crowned with an urn. A central tower housing a clock tower and dome rises from the mansard roof.
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The building's design features limestone pilasters separating its windows, limestone quoins, pilasters and a pediment around the entrance, and a brick parapet. The building was added to the National Register of Historic Places on March 15, 1984.
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In addition, the choir was equipped with stalls divided by fluted pilasters.
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A one-story pantry wing projects, with paneled pilasters at its corners.
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The center entrance is framed by pilasters, entablature, transom, and side lights.
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The façade of the church was modified and done later by Giacomo Della Porta. We can see two main sections which are decorated with acanthus leaves on pilasters and column capitals. The lower section is divided by six pairs of pilasters (with a mix of columns and pilasters framing the main door). The main door is well decorated with low relief and two medails.
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At upper level, the architrave of these windows takes the form of mini-pilasters supporting a moulded lintel. The front elevation is finished in chamferboards. Pilasters are located at the corners, separated by a protruding string course at first floor level. The upper level pilasters support an entablature and pediment with simple timber mouldings and the symbols of Freemasonry are located within the tympanum.
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The central arch is flanked by paired circular Corinthian pilasters with square Corinthian pilasters at the corner of the projecting bay. The clock tower, with extant clock faces, is square in plan, with square Doric pilasters at each corner. The tower has arched mouldings surrounding each clock face. The top portion of the clock tower is painted brown and the bottom portion is cream.
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It is similar to a mosque. It had never received any kind of royal recognition. There are twelve columns and twenty-four octagonal pilasters. Twelve of the pilasters support the entrances to the side chapels and have sixteen corbels.
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The storefronts are historic and include some original doors and cast-iron pilasters.
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Its colossal walls are supported by horizontal marble and granite columns and pilasters.
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The entrance consists of three rounded arches, the middle one flanked by pilasters.
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It has a two-story pedimented portico with Doric columns and pilasters. With .
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It has pilasters and an architrave. Its interior has Greek Revival mantels. With .
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The first two floors above the ground are marked by giant Ionic pilasters.
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Its square pilasters, reaching up to the roof, are also decorated with pinnacles.
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295 the folly is ornamented with battlements, pinnacles, pilasters, arrowslits and fancy brickwork.
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The toothed cornice is decorated a saw-toothed trimming which runs along pilasters to the chancel gabel. The nave walls are similarly decorated with cornices and pilasters. The chancel windows resemble those of the apse but they have been extended downwards.
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This timber frame, brick and cement render warehouse with four storeys and basement stands in Charlotte Street. At the north-eastern end of the building a highly differentiated bay marks a carriage entrance. Large pilasters separate six window openings and the carriageway bay. Three of these pilasters mark the ends of the building and the carriageway bay and are distinguished, by greater ornamentation, from the five "minor" pilasters.
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During the Renaissance, architects aimed to use columns, pilasters, and entablatures as an integrated system. The Roman orders types of columns are used: Tuscan and Composite. These can either be structural, supporting an arcade or architrave, or purely decorative, set against a wall in the form of pilasters. One of the first buildings to use pilasters as an integrated system was in the Old Sacristy (1421–1440) by Brunelleschi.
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The second stage is octagonal, with corner pilasters and blind louvered openings on four side. The third stage, which houses the belfry, is a reduced version of the second stage, and is capped by a round cupola. The building's corners have paneled pilasters, which rise to a broad entablature that extends across the front and sides. The main entrance is centered, with flanking paneled pilasters rising to an entablature and cornice.
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It has pilasters, Gothic arches, a wood bell tower, and common bond brickwork. With .
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A vast central hall is divided into three naves by two rows of pilasters.
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A coffered plaster ceiling with large cornices is supported by pilasters with Corinthian capitals.
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Chapel corners are broken niches that culminates conches and pilasters frame. Pilasters carry peripheral cornice chapel. Above the niches in the corners are a motif stucco, crossed, laurel branches. The north nave and chapels are connected through high semicircular culminating in the arcade.
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The Military prison building was designed in the Classical Greek - Italian style. The portico is Ionic. In front of the vestibule is the portico of two Ionic columns and two pilasters with vertical fluting. Windows are decorated with segmental cornices and pilasters.
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Its hipped roof is surmounted by a cupola, which has paired brackets and pilasters. With .
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Since the temple is pancharatha in plan and the pilasters are also carved as pancharatha.
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The entrance door is flanked by sidelights and pilasters. The multiple windows have small panes.
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The Robbins House is a 2-1/2 story Colonial Revival house with a hipped roof and a coursed ashlar stone foundation. The facade is symmetric, and contains an entry veranda with classic columns and corner pilasters. A shallow bay window is placed on the second floor above the entry. The corners of the house are marked by pilasters with Ionic capitols; likewise, Tuscan pilasters frame the windows in the three roof dormers.
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Tozer's Building has a detailed, symmetrically composed facade with smooth-rendered masonry featuring elements arranged in careful proportion typical of the Neoclassical style. Openings are arched and of equal widths and are visually separated by square pilasters set in low relief and string courses. Pilasters on the lower level have capitals decorated with flower motifs while pilasters of the upper floor have Corinthian style capitals. Arches are finished with moulded architraves and keystones.
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A sandstone water table caps the foundation wall. Deeply cut pilasters define the bays on the first story and terminate in Doric capitals at a flat entablature that forms a belt course between the first and second stories. On the second and third stories, the pilasters rise to the base of the low-pitched roof and terminate in simplified Corinthian order capitals. A cornice composed of stone brackets and dentils sits atop the pilasters.
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The Capital Hotel is a historic hotel at 111 West Markham Street in Little Rock, Arkansas. It is a four-story brick building with an elaborately decorated Victorian front facade. Its ground level window bays are articulated by Corinthian pilasters, and the tall second and third floor windows are set in round-arch openings with Ionic pilasters between. The fourth floor windows are set in segmented-arch openings with smaller Corinthian pilasters.
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Roman and Greek orders of columns are used: Tuscan, Doric, Ionic, Corinthian and Composite. The orders can either be structural, supporting an arcade or architrave, or purely decorative, set against a wall in the form of pilasters. During the Renaissance, architects aimed to use columns, pilasters, and entablatures as an integrated system. One of the first buildings to use pilasters as an integrated system was in the Old Sacristy (1421–1440) by Brunelleschi.
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The clapboard siding is original. The roofline is distinguished by a finely- molded cornice with brackets and wide eaves. The corners are trimmed with broad pilasters. Smaller pilasters and a cornice surround the entrance, where a wide door is divided into four arched Gothic panels.
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The entrance is formed by an arch supported by two pilasters. Above this, there is a choral window with two pilasters and two coats of arms. One belongs to Mexico and the other to Cholula. Above this, there is a niche which contains a cross.
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The walls of the shrine have pilasters, with the spaces between them containing, in relief, pavilions, and miniature decorative towers (aedicula) on slender half pilasters. Some miniature towers have niches below them. Overall, decorative ornamentation is taken to a new level compared to earlier temples.
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It has marble floors, wainscoting, door and window surrounds and pilasters but the walls themselves are plaster. The pilasters are topped with Roman Doric capitals that support a decorated frieze and dentilled cornice. In the metopes are painted vases and medallions. The ceilings are plain.
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The Attic style statues, which had stood on the pilasters, are now in the Pötzleinsdorfer Schlosspark.
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The c. 1855 Doggett House at 1709 Hyannis Road has corner pilasters and a wide frieze.
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The side arches house tall narrow sash windows which have similar imposts, voussoirs, keystones and abutment treatments, and which are flanked by circular Ionic pilasters with square Ionic pilasters at the corners of the projecting bay. The pilasters are supported by a deep base, either side of an enclosed balustrade panel of interlocking circles, and in turn support a heavy entablature with a parapet above which has open balustrade panels of interlocking circles. The clock tower, square in plan, has paired square Corinthian pilasters at each corner supporting an entablature with pediment to each face. The clock faces have been removed, and are now blank.
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The structure is eleven stories tall. The first three stories are made of stonework of rusticated ashlar, with capital-topped pilasters in a series. Floors four to ten have ashlar pilasters framing a finish of red brick. Windows of the building are done in series of three.
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Two stories and three attics rose above the base floor of rusticated pillow blocks. The seven window axes were flanked by pilasters that ended above the triangular gable in richly decorated obelisks. Up to the height of the eaves, the pilasters took over the rustic structure of the basement, above which they were covered with fittings. In the top of the gable, two hermen pilasters carried a shell with the chronogram "CVM Deo", which referred to the year 1605.
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On either side of the pilasters a curved line emanating from the curved edge of the parapet culminates in a scroll at the middle of the pilasters. There are two shorter pilasters at either end of the parapet which also display blue tile inserts. The general decorative appearance of the parapet is of an art-nouveau style. The front wall of the verandah is also of face brick and has three double French doors with rectangular fanlights.
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Above the minor pilasters of the upper floor the painted lettering "Charlotte House" is surmounted by a moulded cornice. The major pilasters extend to deeply fluted brackets and at the roof line, another pediment marked "1886" distinguishes the carriageway bay. The point of this pediment and the line of each of the eight pilasters is accented on the roof by acroteria. Behind the building is a two-storey brick store which was constructed as part of the original project.
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The center three bays project slightly forward. It has a Palladian style with stuccoed Doric pilasters demarking the three bays of the main portico on the west elevation and pilasters on the either side of the last bay of both the east and west elevations. There are pairs of pilasters at the end of the north and south elevations. Two-story wings that are long and wide extend from the outer bays of the east elevation.
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This entrance area is flanked by four partly fluted decorative pilasters, which incorporate neo-classical details and small Ionic capitals and is capped by a modest concrete cornice. The pattern of decorative pilasters extends upwards to the cornice and capped by ionic capitals. It does not extend to the top of the parapet. On either side of the main Sturt Street entrance more modest pilasters extend from the plinth level through to the parapet giving a uniform visual effect.
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These traces also consist of surviving remains of clamps which suggest pilasters were joined to the colonnade.
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Round-headed double- height stained-glass windows to each bay with separating pilasters detailed with limestone capitals.
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The dining room dates from the original period and has round head panels flanked by Ionic pilasters.
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The entry doors are set within projecting corner pavilions. The decorative door surrounds feature fluted engaged pilasters which support a classical cornice. Flanking each entry door are original bronze wall-mounted lanterns. The central pavilion of the elevation is expressed as nine bays delineated by engaged Corinthian pilasters.
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The eastern wall is divided by five pilasters and decorated with two mural portraits of Georgy Boim and his wife, Jadwiga. The portraits were created in 1617, by Jan Gianni. The northern wall is also divided by pilasters. Two fresco images are located there: the Virgin and Jesus Christ.
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On the facade behind the colonnade, the curtain wall has two wide smooth square pilasters at either corner. A wooden wall is at the west end of the porch. In between the pilasters are three wide entrances. The main entrance, in the center, is flanked with two iron lamps.
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The main doors open into a vaulted vestibule with paneled wainscoting and a chair rail. Tall pilasters support a simple, molded entablature and connect with the vault ribbing. Fluted pilasters also frame the door from the interior. A staircase with turned newel posts leads downstairs on the west side.
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The exterior tiles at The Flask. English Heritage note that the building is of yellow stock brick with some stucco. They also comment on the "twin entrances set between tall windows and flanked by three pilasters enriched with glazed tiles, as well as paterae over pilasters at frieze level".
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The north and south wings respectively contain the women's and men's locker rooms and are nearly identical. Both have nine windows separated by eight brick pilasters. The stone capitals of the pilasters line up with the lintels of the windows. Ramps lead from the extreme ends of each wing.
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The center bay has the main entrance on the ground floor, flanked by wide sidelight windows, with pilasters between windows and door, and on the outside of the entry surround. The pilasters rise to an entablature and projecting cornice with a gable peak at the center. Above the entrance is a Palladian window, its side windows also articulated by pilasters and crowned by a corniced entablature. The Federal style building was constructed in 1803 and the school incorporated the same year.
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The center three bays have paired sash windows on the upper level, topped by transom windows and half-round fixed windows, and are flanked by pilasters. The outer bays have a similar arrangement of windows, except the top window is rectangular, and there are no pilasters. The corners of the projecting sections have brick quoins. The main entrance is framed by Ionic round stone columns and square pilasters, and is topped by a corniced entablature bearing the inscription "City Hall".
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The entrance door is surrounded by sidelights and a transom. Both facades are partitioned by pilasters into bays.
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The east bedroom's mantel is flanked by molded pilasters and a deep cornice. There are no interior shutters.
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Today it has a portico supported by columns and pilasters, and a façade with mullioned windows and merlons.
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Terminations similar to pilasters upon the ends of the lateral walls of the cella, in pronaos and epinaos.
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On the landing dainty little fluted pilasters support the surbase, their fine scale lending much grace and refinement.
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The agreement required that the base of the pilasters extend outward from the wall by at least . Scofield built the wall and pilasters, but the bank discovered that they extended onto the bank's land by more than the allowed . The bank sued. Scofield tore down his wall, and rebuilt it.
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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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Above on the porch is a low railing with paired pillars (matching the support columns in position) topped by urns. The front door is flanked by Ionic pilasters, then sidelight windows, and then another pair of pilasters. The house was listed on the National Register of Historic Places in 1989.
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The body of the church is surrounded by tapering concrete pilasters. Between the pilasters, the lower part is in brick, and the upper part is glazed. The windows have curved heads, forming an arcade around the building. The campanile is in brick, and divided by concrete bans into four stages.
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The central buildings have pediments on 4 Corinthian pilasters. In 1840 number 35 was the home of Charles Dickens.
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Art Deco pilasters frame the stage and windows. Stairs similar to those elsewhere in the building are located backstage.
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It is distinguished from earlier Federal style churches by the pilasters on the corners and on the front facade.
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Very fine detailing includes molded pilasters, a carved wreath above the main entry, paneled oak doors, and beveled glass.
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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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The side of the building on the first floor has eight arched windows, the first five of which are shorter and higher to clear the display racks inside. The second floor features arched one-over-one sash windows, one in each bay over the storefront and in every other bay along the side. The bays are separated by brick pilasters, resting on limestone plinths and capped with stamped metal Corinthian capitals. The pilasters support a projecting course of brick, with corbels between the pilasters.
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The third through seventh floors are clad in lighter-colored terra cotta, with pilasters in the three central bays forming an analogue to the fluting of a column's shaft, with sash windows in between the pilasters. At the tops of the pilasters a series of sixteen electric light fixtures mark the ends of the bays. Flat panels of terra cotta clad the corner bays, framing the central bays. A terra cotta cornice separates the seventh floor from the eighth, with arched tops to the central bays.
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The register lists the architecture as being Georgian. The five-bay front facade has two flat Doric pilasters and two more pilasters, located off the central bay support the broken base pediment. The original door was replaced with a 19th-century door that has a 20-pane fanlight and is flanked by two flat pilasters that support the broken base pediment over the door. The main house originally had two-chimney design and another chimney was added to the east wall for a 20th-century furnace.
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Giant order, rendered pilasters divide the front elevation into ten bays of flat arched, four-pane casement windows with fanlights. The other elevations have a similar rhythm of pilasters and fenestration and the blind west elevations of the pavilions are defined by paired rendered pilasters. The west elevation is symmetrical about a flat arched, freestone entrance porch below a double height vertical stairwell window. A U-shape plan organised about a single-loaded corridor to the west of the main wing, the interior is now altered.
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A steel roof with unique ventilation monitors tops the building. Other important features include unpainted decorative bricks with contrasting colours for pilasters and horizontal banding at first and second floor levels, which create a visual separation between floors. However, on the side elevation, the brickwork is uniform across all pilasters and banding.
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The windows on its north facade are irregularly placed. The sunroom on the west end has glazed French doors on all three sides. The recessed and trabeated main entrance is framed by pilasters on either side. The doorway is further framed by a transom and sidelights with pilasters decorated in a Greek style.
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The ceremonial hall is an impressive room with rich decoration and furnishings. The walls are embellished with fluted pilasters framing diamond glazed arched windows with stained glass edging. The pilasters are spanned by a substantial plaster architrave. A deep coved cornice rises to a timber boarded ceiling which has three intricate roses.
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The side walls of the sanctuary are divided into bays articulated by pilasters, with lancet-arched windows. The main facade is divided into five bays, the central three projecting. As on the sides, the bays are articulated by pilasters. There are three entrances, one at the center and two at the outer bays.
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The main corner of the building features a cylindrical structure, which is adorned with pilasters and topped with a cupola.
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The Long Room has a decorative moulded plaster cornice and pilasters. All the joinery throughout the building is silky oak.
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The building was likely designed by a pupil of Caspar Frederik Harsdorff. The facade is decorated with six Ionic pilasters.
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This area featured the same white Italian marble walls and pilasters with Tiffany inlays. On the right (west) side of the lobby, a door led to the women's banking parlor. The walls of this room were covered with silk brocade tapestries. The walls and pilasters were inlaid with Tiffany-designed decorations in ivory and gold.
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The State Street facade consists of nine bays separated by wide pilasters. The pilasters are capped by simple capitals and an unadorned cornice crowns the entire structure. The Ida B. Wells and Van Buren facades are three bays wide with measurements of by . Within each bay are four windows on each floor aligned vertically.
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The screenline, between the pilasters, has oak frames and classical grilles. At the top of the pilasters is a plaster Doric entablature and crossbeams with a Greek key design similar to that seen on the east facade. A stairway and elevator lead upstairs. To the west of the lobby is a large work area.
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At the front is an Ionic tetrastyle portico with a pediment. On each side of the portico are three-bay wings, with paired pilasters along the front, and twin Ionic columns in the antae at the sides. Inside the chapel are modern pews, a pulpit and a reading desk. Along the east wall are pilasters.
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Flanking the portico are three bays delineated by pilasters. The inner two bays have sash windows to both ground and first floors that are divided into three parts by pilasters. Stevens' design also included a steeple that was not built. The building incorporates the former Borough Police Station at what now forms the rear.
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Behind the church, is a wavy monumental staircase, the front framed by pilasters and crowned by urns, with central fountain and statue. This area provides access to a projected series of chapels, although only one was constructed (a square plan) with corner pilasters, ranging from full arch, side windows, dome and small altar inside.
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The facade, in the Art Deco style, consists of three bays of four windows separated by pilasters. The art deco treatment returns for some distance along the southern wall. The windows, now painted, are all small, slender rectangular openings. Decorative friezes occur between the pilasters at each change in level, and again on the parapet.
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The entrances are flanked on both sides by paneled pilasters that rise to a full entablature; pilasters are also found at the building corners. The front-facing gable is fully pedimented. The entablature is continued around the sides, which each have three large sash windows. The interior retains original flooring, plaster walls, and pews.
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This they did by spacing out the surface with slender full and half pilasters. On top of the half pilasters are miniature decorative towers (shikhara, called aedicula) with niches underneath.Brown in Kamath (2001), p.117 The highlight of the large hall are the bell shaped lathe turned pillars of dark grey stone (soap stone).
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The cupola, clock tower and weathervane atop Waterbury City Hall The tower's lowest stage has corner pilasters and louvered flat-topped openings in all four sides. Above it is a blind balustrade with corner posts and swags. Pilasters frame arched openings. Another blind balustrade, its corners topped with urns, has clocks in all four faces.
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It is 18m high, 13.5m wide, and 2.3m in depth. Its design is fully symmetrical from front to back and side to side. The single arched passageway of the lower level is 6.5m wide and was supported by pilasters crowned with Corinthian capitals. Similar, but taller, pilasters flank the outer corners of the lower level.
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The two-storey façade is false, as it is substantially higher than the nave behind it. It features eight Corinthian pilasters, the inner two pairs flanking the door being double. The entrance has a segmental pediment crowned by a coat of arms in stucco featuring an angel, and in between the pilasters are two pairs of round-headed niches crowned by triangular pediments. The top storey has one window with triangular pediment, flanked by six pilasters (inner ones double) and crowned by an ogee pediment with a little segment on top.
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The bays on either side of the entrance bay consist of pairs of pilasters on a banded base that appear to support the pediment. Between each set of pilasters are two narrow rectangular windows separated by a half or engaged column. A small square window centred in the base of each bay has unusual moulded surrounds including jambs terminated by a stylised volute and a coved cornice with a leaf pattern. Other facade details include rosettes, dogtooth banding, acanthus leaf capitals to pilasters and arabesque ornamentation on the pediment.
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A large entablature separates the ground level from the upper two levels which have double pilasters rising through both levels on either side of windows. The pilasters have Ionic order capitals with the faces of devils between the volutes and the two sets of windows are double hung and have balustrades in front of them. The pilasters support a broken-bed pediment with relief carving to the tympanum featuring the Queensland Coat of Arms. Above the pediment is a parapet with pedestals at either end supporting sculpted stone devils holding shields bearing the printer's emblem.
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From the 11th century, architectural articulation included icons between pilasters, miniature towers supported by pilasters in the recesses of walls, and, on occasion, the use of wall pillars to support these towers. These miniature towers were of the southern dravida and northern bhumija and sekhari types and were mostly used to elaborate dravida types of articulation. The miniatures on single pilasters were decorated with a protective floral lintel on top, a form of decoration normally provided for depiction of gods. These elaborations are observed in the Amrtesvara Temple at Annigeri.
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There are a large number of lion pilasters on the walls. There are no images of any deity inside the temple.
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The decoration shows historical embellishments such as pilasters and corbels alongside simpler, more modern elements such as the cornices and pediments.
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It is flanked on the ground floor by marble pilasters. It is across the street from the Palazzo dei Diamanti, Ferrara.
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Roman - Catholic Church with Paulin's monastery was built in late-baroque style in 1778 by J. G. Altenburg. This church has got a single-nave hall with segmented breech of presbyter and barrel-vault with groins. Facade of the church is divided by pilasters. The portal with profiled chambranle has got thin pilasters with a volute on a sett.
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The interiors have highly decorated walls and ceilings. The nave is flanked by pilasters with gilded corinthian capitals. The walls and pilasters are decorated with floral arabesque designs; and the friezes with festoons. The church contains the tombs of prominent ecclesiastics and aristocrats of the region, as well as members of the later- suppressed Confraternity of San Benvenuto.
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The dome is relatively unadorned and houses a four-faced clock. Renovation in 1975 saw a northern addition containing a courtroom, jail, office space, and the county sheriff's living quarters (which was formally retired in the late 1990s). The front portico was also added and includes four bottom pilasters supporting a balcony, with four pilasters supporting the pediment above.
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The facade is divided horizontally by a string course and vertically by pilasters. There are three arched openings on both levels of each section. Decorative elements include architraves, pilasters, keystones, horizontal mouldings, rosettes, ornamental urns and triangular pediments centrally placed in the parapet. The side and rear walls of the building are unrendered porphyry (Brisbane Tuff) with some sandstone.
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The church is constructed in red brick with a slate roof, and is in one storey. The south front has five bays divided by rendered brick pilasters. Each bay contains a round-arched window, and above the central window is a rectangular date stone. At the east end are three blind bays divided by pilasters without rendering.
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In the attics are two round-headed windows. The other bays have three-light windows with pilasters and tympani containing carvings of foliage and busts in the ground floor. The windows in the first floor of these bays are surrounded by pilasters, entablatures and pediments. On the right side of the building is the entrance to the original house.
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The Simsbury Bank and Trust Company Building occupies a prominent position in Simsbury's town center, at the northeast corner of Hopmeadow and Station Streets. It is a two-story Colonial Revival brick building. The roughly square building has a facade, divided into five bays by paired fluted pilasters topped by rosettes. Pilasters at the corners rest on stone piers.
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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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A central projecting entry pavilion dominates the front façade, with a recessed entry topped by a transom window and a cornice in scrolled brackets. The doorway is flanked with Doric columns, and Ionic pilasters beyond the recessed area. Above the pilasters is an entablature and triangular pediment with decorated tympanum. The building was extended in 1998.
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The 1-1/2 story wood frame house was built c. 1850, and is a detailed example of a Greek Revival workers' cottage. The gable end is pedimented, and an entablature wraps around the house, supported by corner pilasters. The main entrance is flanked by sidelight windows and panelled pilasters, and topped by antransom window and entablature.
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Greek Revival paneled pilasters are found at the building corners. The square tower has a short first stage, topped by a belfry with louvered openings and pilasters. The tower is capped by a segmented dome. The building has seen numerous alterations, and most of its decorative elements are the result of Greek Revival renovations in 1840.
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The room had a Late Baroque decoration with double grooved Corinthian pilasters between the windows and stucco garlands. The walls were decorated with Vinzenz Fischer's frescoes of the four faculties. József Pollencig's drawing from 1795 shows a ball scene in the "Prunksaal". The pilasters were kept, but the frescoes were already covered, and the whole room was stuccoed.
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The symbols, the haloes and the hair of the figures are gilded. The shafts of the Composite pilasters are decorated with ecclesiastical symbols: different types of crosses, cardinal's hats, torches, wreathes, palm branches, lamps. The shields with the crosses on the pilasters of the aedicula of the holy oil indicate that these parts came from the Cybo chapels.
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The building is a two-storey stone structure built in the Federation Free Classical style. The upper floor has a balustrade parapet, elaborate central pediment and stuccoed ionic pilasters. The upper floor rectangular windows have false balustrading and shell decorations above them. The ground floor has a granite plinth, horizontal shadow lines, broad doric pilasters and large arched openings.
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The building façade has a parapet with spherical decorative elements above the engaged pilasters. It features a decorative pediment with pilasters rusticated to the first floor. The name "Tolley & Compy. Limited Merchants" appears in stucco across the alley way entrance to the courtyard at the rear of the building on the right side of the building.
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The main entry is sheltered by a portico supported by paired Doric columns, with small modillions lining the fully pedimented gable. The entry is flanked by sidelight windows and pilasters, which echo pilasters at the building corners. The doorway is topped by a semi-oval fanlight window, as are the sidelights. The interior has well-preserved high-quality woodwork.
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The varying rhythm of placement of the windows; and the grotteschi-decorated terra-cotta pilasters with geometric marble bases, give the facade an early-Mannerist-style. Above the pilasters are relief busts.Proloco Ferrara. The palace should not be confused with a Palazzo Roverella, Rovigo, also attributed to Rossetti, and which now serves as the town painting gallery.
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The main block is finished in flushboard siding, while the ells and carriage house are clapboarded. The corners of the main block have pilasters, which rise to an encircling entablature. The building's gables are fully pedimented. The main entrance is recessed in the center of the three-bay front facade, framed by pilasters and a corniced entablature.
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The facade is decorated with moulded plaster details including small pilasters with acanthus leaf capitals, rosettes, keystones, brackets, cornice and balustraded parapet.
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The Greek Revival features of the entrance include square pilasters and half side-lights. The builder and/or architect is not known.
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"Peter Falconer.", The Times, London, 13 March 2003. The remodeling saw the exterior embellished with a new balustrade, pediment, and classical pilasters.
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The shelter is 7.3m long and 2.1m high, and comprises three tiers of shelving separated by pilasters. The structure is elaborately decorated.
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Pilasters separate the window openings on the third and fourth floors. There are also foliate belt courses that run horizontally along the facade.
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The Bådsmandsgade wing The long building stands in yellow-dressed masonry with light grey pilasters. The rounded pediment is decorated with war trophies.
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The façade is broken up by colossal pilasters with flat composite capitals that extend the full height of the building to the cornice.
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The former Wesleyan Methodist Church is a two-storey building in red brick, which is set well back from the street. The front façade is gabled, with stone dressings, and is flanked with tall brick pilasters. This face has a recess at ground level containing two adjacent doorways, which have stone surrounds with pilasters and decorative keystones, and semi-circular arched heads with fanlights; the doorways are flanked by two narrow windows. Above the doors is another large arched recess, faced in stone, which contains two large arched windows flanked by pilasters, with a smaller circular window above.
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The architecture is simple and dignified with four shallow pilasters on the lower level and two pilasters flanking the upper part with the rose window in the center. The pilasters have Corinthianesque capitals with egg-and-dart moulding and vegetal decoration on the lower level while those on the upper level feature simpler capitals with acanthus leaves, scrolls and palmettes. The side doors are surmounted by triangular pediments and their lintels have dedicatory inscriptions referring to Pope Sixtus IV. There is a pair of large arched windows above them. The pediment and the frieze of the central doorway.
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The former Berlin Town Hall is located in the village center of Berlin, facing the triangular green across Woodward Avenue. It is a 2-1/2 story wood frame structure, covered by a gabled roof and finished in wooden clapboards. Its facade has Greek Revival features, including corner pilasters and a portico sheltering a front entry that is flanked by pilasters and topped by a two-light transom window. The portico, built in 1875, is supported by pillars that match the pilasters in detailing, and is topped by a flat roof surrounded by a low balustrade.
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An additional narrow rectangular raised gable roof with glazed windows to the east and west sits over part of the centre of the shed. The south, east and west elevations are notable for full height pilasters marking out bays which to the southern part of the building are punctuated by smaller pilasters which terminated in a lower cornice that is now removed. The smaller pilasters define the loading dock openings - three to the west, five to the south and six to the east. A continuous concrete ledge projects around the southern third of the building below the dock openings.
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The eastern shop front (to the former cafe) has been replaced with aluminium-framed glazing and entrance door and alternate tiling. Above the awning, the north-west, south-west and southern elevations to the offices have been articulated with classical detailing including pilasters and entablature. To the north-west and southern elevation the pilasters are paired with smaller pilasters of the Corinthian order. Eight multi-light steel-framed casement pairs with fanlights provide natural light and ventilation to the offices; one on the north-west elevation, three on the south-west elevation and four on the southern elevation.
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The upper stage houses the belfry, with louvered openings and narrow corner pilasters. The main facade has a central recess in which the main entrance is found. The recess is flanked by paneled pilasters and has two fluted columns. The interior, originally a single story with gallery, was converted into two stories in the 1920s by extending the gallery level.
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A further consecration was held in 1721 with completion of the cupola in 1762. The exterior is sober with Tuscan pilasters in the ground floor, a frieze with floral circles, and a second floor with Corinthian pilasters, upholding a triangular tympanum with decorative roofline corbels. The column elements are in white stone, that accentuates the brick background. The niches are empty.
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The architectural style of the building is a rather simple form of neo-classicism. The front façade is adorned by six pilasters and two semi-pilasters made of dolomite from Saaremaa and a dentiled pediment. It faces a semi-circular courtyard surrounded by less ornate outbuildings. The street front of the building is therefore characterised by the rather unassuming outbuildings.
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It features three zigzag brick and limestone panels, brick pilasters with stepped capitals, and entrances with limestone pilasters. Note: This includes The school was named for the Philadelphia Quaker iron ore manufacturer and merchant Delaplaine McDaniel (1817–1885), who left funds for the establishment of the school. The building was added to the National Register of Historic Places in 1986.
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Four shallow brick pilasters, each two stories high and trimmed with white wood, separate the three entry doors. Each door is echoed by a window above it. The tower's third story is outfitted with pairs of Doric pilasters. On the final half-story beneath the cupola are clocks on each face of the tower, each adorned with a light swag.
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The access portal is in the left crossing of the church, and its austere Baroque design contrasts with the wealth of the interior. It has a cushioned rounded arches, as well as the decorated and the jambs, slightly trumpet-shaped and framed by tuscan pilasters and corinthian columns. Finish the arch something similar to a balcony with a window between pilasters.
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The interior has a cruciform architectural plan and consists of a single nave. Its construction was carried out in mature Baroque style under the supervision of the architects Cesare Corvara and Antonio Canevari. The nave is marked on each side by three pilasters resting on a broad base. The pilasters are decked with fluted white marble and surmounted by composite capitals.
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On the Willow Street facade, the bays are articulated by pilasters. An entablature runs on both facades between the second and third floors, and there are cornices above the third and seventh floors. Windows are set in pairs between the pilasters, with decorative panels between the bays on the third floor. The building is capped by a bracketed cornice and low parapet.
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It features an octagonal balduchin supported by four columns and four pilasters (two projecting form the wall.) The Corinthian capitals of the pillars and pilasters are gilded. Elaborate baroque carvings surmount the balduchin. The ceiling is coffered and painted. The area between the Torah Ark and Bimah is a coffered barrel vault, with large, heavily-carved baroque rosettes in each recess.
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The faces of the block are sculptured with figures of men and elephants. Of the four-armed figures on the brackets of the column, one is a female and one has a face on the abdomen. In the window recess are pilasters with four-armed figures on the bracket capitals. The pillars and pilasters are all of the Hindu broken-square form.
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The entrance is flanked by two engaged fluted Doric pilasters and columns. They support an entablature with denticulated cornice to which a later piece of wood has been affixed with metallic letters saying "ZIP 14411". Above is a blind fanlight with an aluminum eagle. Inside the modern double doors open into a wooden vestibule articulated by narrow paneled pilasters and multi-pane sash.
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Stone steps lead to an open mandapa, a sabha mandapa (community hall) which connects to the sanctum. The open portico has two square pillars and two pilasters. The lintel on the entrance has Gajalakshmi. The sabha mandapa is square (15.6'x15.6'), itself supported on four square moulded pillars set within the space in a square, while the side walls have twelve pilasters.
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The building uses buff-colored brick on its exterior, and has terra cotta ornamentation. Its entranceway onto High Street is two stories tall, with stone pilasters. It originally featured columns and a pediment extending into the third story. Its third story has terra cotta ornamentation including pilasters between the windows, semi- engaged columns flanking the windows, and cornices above and below the level.
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The porch is plastered brickwork which distinguishes it from the rest of the building. The plasterwork is rusticated, on either side of the entrance double height pilasters support a triangular pediment. The pilasters have composite capitals and decorative swags. On the upper level of the porch the arched openings have been enclosed and the space is used as an air conditioning plant room.
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A large, centered window, originally stained glass but now boarded over, dominates the second story. It has a corbelled Tudor arch and is flanked by two double-hung sash windows with small stained glass transoms, also capped by Tudor arches. Four cylindrical pilasters extend the length of the second story. The two interior pilasters extend the length of the second story.
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A triangular louver occupies the center of the gable. The main entrance is in the rightmost bay, framed by sidelight windows and pilasters, with a corniced entablature above. To the left (as seen from the road) is a single-story ell with similar styling, including corner pilasters. The right ell includes what is probably the oldest part of the house.
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Two damaged busts on the pilasters flanking the central niche possibly depict the divinities Aita and Persipnei. The walls and the two freestanding pilasters are decorated with stucco reliefs of objects from daily life. These include household items, pets and other animals. Some objects symbolize the Matuna family's power as magistrates, such as an ivory folding chair, horns and a lituus.
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The double-height ceremonial District Courtroom is another significant space with well-preserved original details, including the carved wooden judge's bench, jury box, witness stand, and clerk's desk. Decorative details include fluted pilasters, rosettes, and carved plaques with floral rinceaux. At the walls, seven feet of paneled wood wainscot is located beneath scored plaster. Marble Ionic pilasters divide the window openings.
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The resulting design presents a rusticated first floor and Corinthian order columns and pilasters on each elevation. These massive columns and pilasters define the sequence of window bays on the second, third, and fourth stories. Rusticated stone-arched windows with carved keystones adorn the first story. The more ornate second-story windows are capped with classically inspired pediments and balustraded sills.
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The front facade has four pairs of Ionic pilasters separating the entrance and two sets of windows. A frieze reading "UNITED STATES POST OFFICE" and a dentillated cornice run above the pilasters. A balustrade runs along the front edge of the roof; a large scrolled cartouche marks the center of the balustrade. In 1966, the post office was converted to a federal building.
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The main entrance is an arch supported by pilasters and flanked by columns. The upper part of the façade has a choral window also flanked by columns. The left hand tower has one level with arches, flanked by Tuscan pilasters topped by a small dome covered in Talavera tile. In 1864, the cupola and roof were destroyed by an earthquake.
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The gabled façade reaches 17 m (55.7 ft.) height on both sides. With their robust appearance they are resembling to the Romanesque style. White pilasters frame the sides, and they are running upwards to melt into the arched frieze on the top. Originally a statue stood on the roof above each pilasters, but they were removed during the renovation works in 2000.
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The flat roof is topped with a cornice and parapet. Fenestration on the front pavilion consists of three round-arched openings. All are flanked by limestone Greek Revival-inspired Corinthian pilasters with a similar keystone in the arch. Above the pilasters on the facade is a frieze with rosettes at the ends and "UNITED STATES POST OFFICE" in carved lettering.
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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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It has corner pilasters supporting a full and wide cornice. Windows are set in moulded frames, the main entry is framed by sidelights, pilasters, and a cornice, and there are secondary entrances one the east elevation, one with sidelights and a transom window, the other with a transom window. On October 7, 1983, it was added to the National Register of Historic Places.
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The lecture hall is located to the south of the church. It is a one-story frame building sided in clapboard with a gabled roof and pilasters at the corners. A plain cornice and frieze mark the roofline. There is a triangular vent in the east gable, and the main entrance on the west has a vestibule with pedimented roof and corner pilasters.
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An original rendering vat is in the basement. The main block, added later, is a five-by- three-bay two-story frame house lined with brick. Its most distinctive Federal style feature is the main doorway, flanked by sidelights, fluted pilasters and topped with a rectangular transom window. Smaller versions of the pilasters flank the Palladian window immediately above the doorway.
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Both the porch and the main building have corner pilasters, with pilasters also present between pairs of windows on the porch. They rise to an entablature and modillioned cornice. The main entrance is at the center of the porch, flanked by wide sidelight windows, and a transom window above with ten small lights. The building interior retains high quality original workmanship.
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It has a typical three-bay side-hall plan, with corner pilasters and a main entry surround consisting of long sidelight windows framed by pilasters and topped by an entablature. The windows are topped by shallow pedimented lintels. Charles Manning was a longtime Reading resident and part of its woodworking community, building parlor desks. Reading's Manning Street is named for him.
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The front door has Corinthian pilasters on each side. It has been listed on the National Register of Historic Places since July 5, 1984.
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Stained glass windows are recessed in brick bays separated by pilasters. There is a c.1970 one-story frame addition at the rear. With .
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The two lateral sections have giant pilasters surmounted by triangular tympani.Micaela Pisaroni, Il neoclassicismo - Itinerari di Milano e Provincia, 1999, Como, NodoLibri, p. 46.
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The 1933 section retains its roof form and external detailing which consists of recessed bays housing large rectangular window openings separated by shallow pilasters.
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Pilasters also frame the louvered vents on the hip roofed belfry. Inside, the first floor has two rooms. Upstairs is a library and auditorium.
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The brownstone pilasters in the façade were meant to be painted white to simulate marble, as in a number of surviving houses on Beacon Hill.
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Its entrance front is also in three bays with brick pilasters. It has a central flat-roofed porch supported by slender cast iron Tuscan pillars.
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The red brick two-storey building with attics is of seven bays and a slate roof. The central doorway has rusticated pilasters and segmental pediment.
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Interior features include Roman Doric columns, decorative mouldings, pilasters and an arched vestibule. The majority of the interior light fixtures are original to the house.
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Casa dos Patudos Monofora is a type of the single-light window, usually narrow, crowned by an arch, and decorated by small columns or pilasters.
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The fifth and sixth floor bays are articulated by fluted stone pilasters, and the building is crowned by an elaborate projecting cornice with metal cresting.
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A triumphal arch supported by pilasters supports the vaulted structure over wood cornices in the presbytery, dominated by a floor-size wooden crucifix and altar.
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Tasselled cushions support her head. The base of the tomb is decorated with corner pilasters, tasselled swags and "weeper" figures representing knights, ladies and others.
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In the piers of the first floor there are two ionic half-columns with volutes. Mezzanine framed by two-sided pilasters of the Tuscan order.
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It has an elaborate front door surrounded, with framed paneling and pilasters. The house was listed on the National Register of Historic Places in 1989.
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The east and west sides of the wings are gabled. Along the sides of the nave the windows are set in round-headed arches, and the bays are divided by pilasters. The transepts also have clasping pilasters, and at the corners these rise to two-stage turrets containing blind arcading and topped by pyramidal caps. The chancel contains three lancet windows, with a circular window above.
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The Van Buren Post Office is located at 22 South 7th Street in Van Buren, Arkansas. It is a single-story brick and stone building, with restrained Art Deco styling. The main entrance is topped by a panel with aluminum signage identifying the building, with a large window above. It is flanked by tall pilasters, beyond which are tall windows and another pair of pilasters.
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The First Unitarian Church is a historic church in Peabody, Massachusetts. The wood frame church was built in 1826, when the area was known as South Danvers. The front facade has a projecting rounded entrance hall decorated with pilasters and a heavily bracketed cornice. The main part of the facade also has pilasters rising to a pedimented gable that has large-scale dentil molding.
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The facade of the State Theatre is a symmetrical composition of three bays. The bays are defined by engaged pilasters expressed as a series of quoins above a projected water table base topped by an ionic capital with an attached swag. A projected cornice with a simple entablature tops the facade. Above this is a parapet divided into three corresponding bays again divided by projecting pilasters.
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The Breakfast Creek Hotel at twilight The 1889 building is extravagantly detailed. The Breakfast Creek Road frontage to the south has projecting end bays with vermiculated stone quoins which flank a ground floor loggia and first floor verandah. These bays have mansard roofs with crested widow's walks. The western bay has a doorway framed by pilasters and a pediment, with windows framed with pilasters above.
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The main entrance is at the center of the facade behind this portico, which is otherwise unadorned; it is flanked by fluted pilasters. The building corners sport paneled pilasters, and the sides each have four regularly spaced windows. A two-story ell extends to the rear of the main block. The school was built in 1843 as a private academy, a role it served until 1864.
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The front entrance is at the center, flanked by sidelight windows and pilasters. It is sheltered by a shed-roof portico with slender round columns. A Palladian window is set above the entrance, with pilasters articulating its elements. The house was built in the 1820s by John Glover Noble, a descendant of one of New Milford's founders, and remained in the family for several generations.
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The two- story pilasters rise from a buff-colored sandstone belt course at the second floor line. The pilasters support a sandstone string course, cornice, and parapet. Originally the parapet had a balustrade in portions aligning with the five bays. The first story, which is detailed in red brick and follows the organization above, is elevated and defined by a sandstone water table course.
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The bays are divided by two-story pilasters with stylized capitals. The pilasters support a classical entablature that features an architrave, frieze, and cornice with a dentil course. On the original portion of the building, other openings are rectangular and topped by flat arches with limestone keystones. A roofline brick parapet wall with limestone coping and pedestals is on the original portion of the building.
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Some of the moulded plaster ornamentation is visible at the tops of the columns, on the faces of the pilasters, and under the beams on the ground floor. The upper floors have drop panels on two sides of the columns and on the face of the pilasters. A timber Commonwealth crest has been installed between the doors of two of the refurbished lifts in the lobby.
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150px The office building was a two-story, rectangular brick structure with a flat roof, measuring 50 feet by 100 feet, which directly adjoined the factory. The front facade had a central entrance pavilion topped with an overhanging entablature and flanked by slightly protruding brick pilasters, with additional pilasters at the corners. It had arched window surrounds with sash-type windows and stone sills.
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The wall of the nave is divided by pillars with hollow corners embraced by Ionian pilasters and semi-pilasters. An old Baroque main altar, Baroque-classicistic pulpit and a Baroque music gallery survived until today. The altar part is oriented to the North and vaulted hemispherically with lunettes. The vaults of the church are of a sail shape and are separated by broad straps.
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It features vertical boards that define pilasters on the main facade, Moorish-type arch worked into the stucco, a front entry with pilasters that support a pedimented gable roof, and a solarium. It is the Stranahans' association with the college in the context of the Quaker testimony in Oskaloosa that makes this house historic. It was listed on the National Register of Historic Places in 1996.
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The stories above have slight segmental arched windows. Brick pilasters, echoed by similar quoins at the corners, rise to the roofline, where corbels support a cornice below a parapet along the flat section. On the north and south sides are four double segmental arch windows, similar to those on the upper stories, separated by brick pilasters. The interior has been extensively renovated since construction.
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The main entrance of the church is allocated from the western part to enter into the narthex and the main nave. It is vaulted by four inconspicuous bays of Baroque barrel vault with lunettes. There are simple pilasters on second and third pillar and double pilasters on the other pillars. The original Gothic vault, which was roughly 1 m taller, is visible in the loft only.
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Plastered walls and molded chair rails run along the entire lengths of the first and second floors. The Federal style stairway features a transverse landing, a square newel, and a rounded handrail on top of rectangular pickets. The step-ends are decorated with a wavy bracket. The Adamesque style mantels in the larger rooms have fluted pilasters while the smaller rooms have simple paneled pilasters.
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Trim consists of simple pilasters at the corners, and an entry surround with pilasters, transom window, and paneled entablature. A vertically oriented flagpole is attached above the door. The town of Petersham, incorporated in 1754, established a district school system consisting of thirteen districts. The present district 4 schoolhouse was built in 1846, and is one three school buildings from the 1840s to survive in the town.
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The Elliott-Larsen Building is a six-story (originally seven-story) U-shaped Classical Revival structure with a flat roof, with a facade of cream-colored sandstone above a granite basement. A cornice separates the second and third floors, forming a base for four-story pilasters with Tuscan capitals above. An entablature with cornice runs above the pilasters. As originally built, the building had three arched entrances.
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Western facade of the church The beheading of the Theban Legion The western facade of the cathedral is a monumental white stone neoclassical structure. The lower portion is divided into three sections by columns topped with pilasters and entablature. The upper portion is smaller and continues the decoration of columns, pilasters and entablature. The facade is crowned with a triangular pediment as are all of the doors.
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Trim consists of simple pilasters at the corners, and an entry surround with pilasters, transom window, and paneled entablature. The interior of the school has a vestibule area, which then opens into the classroom. The wall separating the spaces is vertical tongue-and-groove, with an original Federal-period door. The classroom walls are finished in vertical tongue-and-groove wainscoting, with plaster above.
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General Services Administration page. The primary facade is faced in white Georgia marble and features a thirteen bay, engaged double-height colonnade of fluted Doric pilasters flanked by shallow projecting corner pavilions. A large entablature composed of a plain frieze and enriched ornamental cavetto cornice surmounts these pilasters. A single-height entrance pavilion composed of three pedimented formal entryways is centered on the facade.
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The second level has a sash window flanked by pilasters. An entablature encircles the building below the roof line. The front gable is finished in flushboard, with an eyebrow window at its center. Centered on the ridge, a two-stage square tower rises; the first stage is simple, finished in clapboards with cornerboards, while the second belfry stage has louvered round-arch openings and paneled corner pilasters.
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The church is predominantly Baroque in style. Its first level is devoid of any embellishment or fenestration save for the main semicircular arched portal and the wave-like cornices and rounded, high- relief pilasters. A similar motif has been adapted on the second level of the façade, which is pierced by three windows. The center of the softly undulating pediment showcases one blind window encased by pilasters.
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The façade has three bays. The theme of large pilasters and columns continues, but different styles are used: the left and right bays project slightly and have paired Tuscan pilasters, and a pair of tapering Ionic columns in the centre bay form a distyle in antis composition. The centre section also has a mansard roof—apparently a later addition. The western wing (the former Lion Mansions) has a Tuscan-columned porch on the south (seafront) side and a Doric-style equivalent facing north to Old Steine, four Composite pilasters extending for three of the four storeys, small cast-iron balconies and some aedicula-style window surrounds.
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The brackets above the capitals of the pillars have decorations of griffins with human riders also, in addition to the lions. The pillars and pilasters with Yyala base of the pillars and Pilasters are cut out over a square pitha bass plate. Within the cave, there is long chamber with a second row of four pillars and two pilasters. To the back of this second veranda there is small chamber cut in an octagonal shape flanked by two niches; it is inferred from this that the intended purpose was to carve this chamber to a square plan and making a passage behind it for circumambulation.
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Gwangtonggwan's architectural details Mainly built from red bricks and granite, the Gwangtonggwan building has a symmetrical layout which roughly covers 774 square meters. The first floor of this building was designed and served as a bank, while the second floor was designed for conference rooms and offices. When it was originally constructed in 1909, the building had Ionic pilasters, but during the reconstruction following the fire in 1914, the Ionic capitals were removed and baroque decorations were added instead to the pilasters. Today's building has circular and arched windows, decorated pilasters, two baroque-styled domes with finials, two dormer windows, and a detailed pediment consisting of a half-circular window.
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But it demounted in 1970. Decorative elements: The walls are smooth with pilasters, cornice is anfractuous. Semicircular windows are decorated with architraves. Interior is not preserved.
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At the rear, the narrower chancel projects under a pediment. On its rear wall is a blind window with four pilasters and an entablature with wreathes.
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1955, and c. 1965 additions. The Fire Drill Tower (1928) is a narrow six-story building. It features pilasters, blind arches, and round-arched belfry openings.
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The pilasters also frame lighter timber plaques with names in gold point. The Honour Roll is flanked by smaller memorial plaques with gold lettering and motifs.
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The facade is divided by pilasters. It is again found with rich architectural decorations, especially sculptures of individuals, and also of animals.Sommer: Hatra. S. 63–73.
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The west wall has pairs of brick pilasters flanking the porch, which contains side seats. On the apex of the gable is a louvred bell turret.
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A stone course separates the first and second stories. Brick pilasters frame the main garage door. The interior retains its tiled floor, brass pole and flooring.
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A rear profile view of Kaitabheshvara temple at Kubatur Old Kannada inscription (1241-1249 A.D.) at Kaitabheshvara temple The sculptural motifs and friezes, the decorative articulation, the shape of superstructure (shikhara) and the design of pillars in this temple are those commonly found in other Western Chalukyan temples. On the outer walls of the shrine and vestibule are pilasters of two types; full length pilasters that reach up to the heavy though inconspicuous eaves, and half length pilasters that support miniature decorative towers (Aedicula) of various kinds (such as latina and bhumija).Foekema (1996), p28 The sculptures of Mahishamardini ( a form of the Hindu goddess Durga, Bhairava ( a form of the god Shiva), and Ganesha can be found on the main tower. The base of the outerwall of the open hall (mukhamandapa) has decorative motifs, pilasters surmounted by miniature decorative pyramidal shaped turrets with gargoyle faced (kirtimukha) scrolls.
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The side-hall front door is flanked by full-length sidelight windows and pilasters. The house was listed on the National Register of Historic Places in 1982.
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Side entrance are also set under Ionic porches, and the building has corner pilasters. The house was listed on the National Register of Historic Places in 1986.
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The rear elevation has a tetrastyle portico sheltering the three- center bays and Corinthian pilasters. It was listed on the National Register of Historic Places in 1979.
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The front entry is surrounded by sidelight and transom windows, and flanked by pilasters. The house was listed on the National Register of Historic Places in 1989.
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The Daniel and Esther Bartlett House, now the Lonetown Farm Museum, is at historic house and farmstead at 43 Lonetown Road in Redding, Connecticut. It is a 2-1/2 story wood frame structure, five bays wide, with a central chimney. The central entrance is framed by pilasters and topped by a transom window and pediment. The entry is sheltered by a gabled portico supported by Doric columns and pilasters.
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Two colonnades face Wall Street. The other three facades on William Street, Exchange Place, and Hanover Street have no colonnades; instead, these sides contain pilasters between each bay on the second and third stories, except for the center bay on each side, which is a large arched window. When McKim, Mead & White expanded the building, the pilasters were extended tho the fourth through seventh stories of these facades.
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The entry is recessed, with sidelight windows immediately flanking the door, and pilasters with peaked lintels outside the recess. The building corners also have pilasters, which rise to an entablature which spans the front. A smaller single-story ell extends to the left at a recess to the main block. The house was built about 1860, most likely by John Chandler, a prolific local builder of plank-frame houses.
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The first floor features three central arched entry doors, with a pair of arched windows on either side. The second story is dominated by Ionic pilasters, four in the center section, and three on each side. The pilasters support a limestone architrave beneath a denticulated cornice and parapet roof. On the parapet, in line with each column in the center section is a figurine of an opera singer.
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The façade, the sides, the apse and the bell tower are decorated with pilasters and Lombard bands featuring numerous different sculptured motifs, such as geometrical patterns, human figures and mythological animals. The interior has a nave and two aisles, divided by cruciform pilasters, some of them of the Gothic polycolumn type. The sculpted capitals portray New Testament scenes, such as the Nativity and the Adoration of the Magi.
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The church has a narrow façade ingeniously modelled into three bays on two levels with the centre bays projecting slightly. The composition gives the impression that the façade is larger than it actually is. In the remodelling of the church Carapecchia accentuated the vertical dimension of the façade by having superimposed pilasters of equal heights. The upper columns and pilasters are slightly more slender than the lower ones.
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In the lateral Over the southern lateral doorway is an inscription stating: "Esta capela fez António Martins em 1596". The main portal is worked/sculpted basalt, in Roman arch, with three archivolts separated by decorated pilasters. The exterior archivolt is flanked by sculpted pilasters, which extend above each respective capital and end in a floral. The two-storey rectangular bell-tower includes footers, cornerstones, frames, corners and pinnacles in masonry.
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An elaborately outlined oval window adorns the center of the pediment. The main entry is surrounded by a latticed transom and sidelights, which are flanked by pilasters with capitals that match the main columns. Above the main entrance is a balcony with wrought iron railings, which features a door with similar transom and sidelights as that below. The portico is framed by pilasters against the house which match the main columns.
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In 1949–50, the Senate Chamber underwent a reconstruction that involved the removal of the skylight and a redesign of the room's walls. In place of the chamber's original cast-iron pilasters, newer red Levanto marble pilasters were installed. The wooden rostrum was replaced with a newer, larger version made of marble. The iron and glass ceiling, including the skylight, was replaced with a ceiling of stainless steel and plaster.
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The central level of this elevation, equivalent to three stories in height, features a triple-arched blind arcade set within the three central bays. Each individual archway: is punctuated by a pedimented, structural opening with a large ornamental cartouche above. These central bays are each framed by imposing, pseudo-Corinthian pilasters and half pilasters, full three stories, in height. The blind arcade is solidly flanked by sparsely-decorated outermost bays.
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These porches are reproductions of the original porches, which were removed at some time in the past. On the interior, the lobby has Classic Revival pilasters projecting from the walls, and a beamed, coffered ceiling with ornamental plaster moldings. The wood is dark stained oak, and the floor is porcelain tile. This tile extends down the hallway to the main dining room, which has similar pilasters and coffered ceiling.
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Each sidelight is flanked by two columns or pilasters and topped by a small entablature. The entablatures serve as imposts supporting the semicircular arch that tops the central light. In the library at Venice, Sansovino varied the design by substituting columns for the two inner pilasters. To describe its origin as being either Palladian or Venetian is not accurate; the motif was first used by Donato BramanteAckerman, Jaaes S. (1994).
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The units are divided on the façade by brick pilasters, which were originally faced with cast iron on the ground floor. The two eastern units are combined, and share an entrance flanked by two multi- paned fixed windows on each side. The other two units have central entrances with one window on each side. The three eastern units are treated similarly, with triangular pediments and pilasters surrounding each door and window.
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The wall behind the portico is faced in stucco. The main entrance's double wooden doors are recessed in a large round arch topped with a leaded fanlight and flanked by two fluted pilasters topped with a similar cornice to the pediment. Next to it are cast stone panels that top the narrow windows aside the pilasters. On either side of the portico are nine- over-nine sash windows.
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The Dill Building is an historic building at 11–25 Stuart Street in Boston, Massachusetts. The six story brick building was constructed in two phases between 1886 and 1888. Its facade is symmetrical, each half of floors 3–5 organized into window groups separated by brick pilasters. There is a corbelled cornice line between floors 5 and 6, with the window pattern continued on the sixth floor without pilasters.
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The entrance itself is flanked by sidelights and pilasters and surmounted by an ornate fanlight and segmented arched lintel. Above it is a detailed tripartite window within an arch partially cut into the frieze and cornice above it. It is flanked by pilasters supported another segmented arch lintel. The identical east and west elevations feature fully pedimented gable fields, rising slightly above the roofline to create a parapet effect.
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The main facade is symmetrical, with a pair of entrances, each flanked by pilasters, sidelight windows, and outer pilasters, and topped by entablatures and peaked cornices. Windows on the second level also have peaked cornices. and Tuftonboro's Methodist congregation first met in 1804, and its first church building was constructed in 1820. The present building was erected sometime between 1849 and 1854; the congregation ascribes its construction to 1853.
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The building's front facade has pilasters at the corners, which rise to a pedimented gable. The facade is symmetrical, with a central recess housing a pair of entrances. The recess is defined by corner pilasters and matching square columns, and is topped by a corniced entablature. The earliest church organizations in Wolfeboro were either Free Will Baptists, a teaching founded in neighboring New Durham in 1780, or derivatives of that group.
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The center bay has the main entrance, accessed by a flight of granite steps flanked by decorative railings. The entry is also elaborate, with pilasters supporting a broad entablature and cornice. The second level has two windows flanked by paired pilasters, again with an entablature above. A three-part Palladian style window occupies the center third floor bay, above which a gabled wall dormer rises into the attic level.
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A down-scaled bronze prototype by Daniel Chester French of his 1920 statue in the Lincoln Memorial, in Washington, D.C., dominates the entrance foyer. The walls of the rotunda are decorated with 16 marble pilasters, which are separated by marble panels. The pilasters symbolize Lincoln and the 15 Presidents who preceded him. The room also contains 36 bronze panels, one for each state at the time of Lincoln's death.
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The building corners have pilasters with lancet-arched paneling, which rise to a simple entablature. The front facade is symmetrical, with a pair of entrances flanking a central sash window. The entrances are topped by lancet-arched trim and flanked by paneled pilasters similar to those on the building corners. A single-stage square tower rises above, with rectangular louvered openings and a pinnacles at the corners above.
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The present chancel is Gothic Revival and was built in 1870 but the nave has tall Anglo-Saxon proportions, with plain pilasters from ground to roof, and a blocked doorway. There are more pilasters on the north wall, including a truncated one with traces of a filled-in window above it. The quoins are of large stones. These features suggest a Saxon date for the main body of the church.
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Behind the pillars is the main entrance, framed by pilasters supporting a full entablature with another stained glass window above. On either side the double doors have a fluted Ionic column in front of a small window. Paneled corner pilasters support the gabled roof and its cornice, with a full entablature. Both north and south profiles are fenestrated with four stained glass windows, with an additional smaller one on the north.
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The portico has four pillars and two pilasters. The hall has 3 chambers at the back, the central one a shrine and the rest for monks or priests. The hall is devoid of any decoration, except for the door of the central shrine, which has pilasters and a frieze, with the threshold decorated with lion figures.For pictures of Cave 6, see this site The sanctum has no remaining image.
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The superstructure as a 3-tiered tower (called tritala).Kamath (2001), p116 The outer wall of the temple has projections and recesses creating niches. In these niches are miniature decorative towers in relief (called aedicula or turrets), the execution of which evolved during the Later Chalukya rule. The vesara style aedicula are supported by double pilasters while the dravida (south Indian) style aedicula are supported by single pilasters.
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The corners are emphasized with slight recess and pilasters. As with the other two buildings, pilasters, here with Corinthian capitals, spring from a stringcourse above the first story to divide the bays of the second and third stories, forming a balustrade. Six-over-six trabeated double-hung sash on the second floor are topped with cap cornices. Above them the third level windows are plainer and shorter trabeated six-over-six.
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The second through fourth floors are divided into six bays, articulated by fluted pilasters. Each bay houses a three-part window, with a larger central pane separated by smaller side ones by slender engaged columns. Between the floors are decorative panels. The top floor is separated from the others by a dentillated cornice, and also has six bays separated by pilasters, each bay housing three round-arch windows.
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The ground floor level has a plinth with arched openings set between groups of pilasters. Recessed behind the balconies of the upper-level central bays are more openings. Local sandstone was mainly used as the wall facing material and the pilasters, and locally grown cedar for the main entry doors, while the giant order Corinthian columns are imported Oamaru limestone. These columns rise from the first floor balcony.
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A church was founded here in 1665 by the Oratorians. An adjacent convent was built in 1708 through 1712. In 1722, this larger church was designed by Romolo Broglio. The brick façade is enlivened by white stone elements including the portal, windows, and bases and capitals of pilasters; it was built in 1771 to 1774 using designs by Pietro Augustoni, and an abundance of pilasters in the base.
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This panel-clad façade of the Oratorio dei FIlippini was designed to mimic the human body with open arms for those wanting to worship there. The façade is decorated with upper and lower pilasters with Corinthian capitals. At the corner of the oratory, on the Piazza dell'Orologio, Borromini raised a turret with a clock (1647-1649). Interior Inside the oratory is articulated by half columns and a complex rhythm of pilasters.
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The original house was in two storeys and 13 bays long. Its central part was decorated with six pilasters and tipped by a triangular pediment. When Hetsch added an extra floor in 1850, he chose to move the pilasters one storey up instead of extending them, and they therefore start at the first floor today. The sculptor Vilhelm Bissen created the relief in the pediment after Landmandbaken's acquisition of the property.
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Its main facade is also relatively simple: the front-facing gable is not fully pedimented, having only short returned. There are corner paneled pilasters as with the church. It has a centered double-door entry, which is topped by a transom window and framed by pilasters and an entablature with cornice. The entrance is flanked by sash windows topped by simple cornices, and there is a similar window in the gable.
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The front facade is three bays wide, articulated by brick pilasters painted white, which rise to an entablature and fully pedimented gable. Pilasters are also found at the corners of the wood-framed belfry, which has rectangular louvered openings. The main entrance is in the central bay, while the flanking bays are blank. The interior has an entrance vestibule, from which narrow stairs wind to the second floor on the right.
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Of the main two quadrants and main facing return of the crescent, forming 47 of the 50 buildings, the first floor has stucco-applied doric order pilasters between the windows and a subsidiary cornice above. The second and third floors are united by paired ionic order pilasters set between houses. These are surmounted by a heavy modillion cornice. Most have a balustrade finished with urns to the final unit.
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The interior features Carrara marble and Venetian mosaic, while the exterior is decorated with Ionic columns, neo-Doric pilasters, small triangular pediments and medallions of important cultural figures.
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The building corners also have pilasters, which rise to the main roof ridge, which has Greek Revival style returns on the sides. The house was built about 1835.
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It features a blind-arcade front with brick pilasters and stepped parapet gable ends. See also: It was listed on the National Register of Historic Places in 1999.
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The temple had a six- column pronaos with traces of corbels and an interior which was modelled on the classical cella. The side walls were decorated with pilasters.
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It has modest Greek Revival styling, with a single entrance framed by pilasters and an entablature with cornice. There are sash windows on either side of the entrance.
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The two upper floors feature cast iron arcades. Pilasters structure the facade vertically. Round windows are embedded above. The final cornice is decorated with a cross diamond frieze.
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It has two pillars and two pilasters and a square base entrance to a hexagonal portico, which were brought from the ruins of mantapas at Kudimiyanmalai. The Ardhamantapam, after the front entrance, is rectangular in plan of long, wide and high, and the cubical cell of width, (a little higher than the garbha- griha) with a facade which has two pillars and two pilasters at both ends. The pillars as well as pilasters are hexagonal in shape in the middle section while the top and bottom sections are square. Rock beam is sculpted above them as if supporting them; provided with large corbels (potikai in Tamil) with ornamentation or fluting, with an intervening plain band.
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In the southeast corner is the top lookout tower which is decorated in Mudejar style. The building facade is white lime contrasting with red brick pilasters, architraves and cornices.
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The main entrance has a Greek Revival surround with sidelight windows, wide pilasters, and an entablature. The house was listed on the National Register of Historic Places in 1986.
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The interior was subject to major alteration during the conversion and the only historically significant remaining features are the entrance lobby, with Ionic pilasters and the top-lit staircase.
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The well with Renaissance decoration, the main door with pilasters and the staircase turret date from the 16th century. The polygonal construction exhibits Gothic ornamentation, in particular hooked capitals.
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The building was enlarged by ten stories in 1921, and the façade completely redesigned in 1958, with its signature pilasters covered over; it still remains, its original form unrecognizable.
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The massive portal, flanked by pilasters, displays a curved transom ornamented with stucco ribbon motifs. On top of the transom light are visible Bydgoszcz and Poland coats of arm.
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Pilasters through the upper floors, cornice and parapet. The garden front (south-west) of 5 bays with a central canted bay of 2 storeys. Mid C19. 12-pane sashes.
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A Palladian window is on the inside wall. The entrance to the postmaster's office has two narrow stop-fluted pilasters supporting blocks with carved urns and a swagged frieze.
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The interior features a large arcaded nave forming a clerestory with two side aisles and a large arch forming the entrance to the sanctuary. Walls are built in a succession of arches surmounted by a cornice of stone which forms part of the rooves of the aisles. Series of stone pilasters are ranged against the walls and on the sides of piers. The style of the capitals of the pilasters is Corinthian.
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The Applegate Drugstore is a historic commercial building at 116 South First Street in Rogers, Arkansas. It is a two-story masonry building, with brick sidewalls and a limestone facade. Pilasters of alternating rough and smooth stone delineate the first floor elements of the storefront, rising to a freeze and dentillated ogee course between the floors. The second floor has two large bays, each with a pair of sash windows, delineated by Corinthian pilasters.
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Four triangular stepped limestone pilasters frame the elements of this section, including the main entrance in the central bay, which now has replacement doors of aluminum and glass. Above the pilasters is a limestone panel identifying the building as the "Lincoln County Courthouse" in Art Deco lettering. It is believed to be the only Art Deco building in the county. The courthouse was listed on the National Register of Historic Places in 1994.
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The modern church reproduces the ground plan of the ancient building. The façade, in the limestone cornice, is divided by thin pilasters into five bays, not reproducing the previous ornamental arches in the roof eaves. The central bay contains the neomedieval portal with archivolts, over which is a lunette covered with a sort of porch. The left side - also made of limestone - is marked by four pilasters and pierced with mullioned windows.
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Bar at the Golden Cross, Cardiff More impressive is the Golden Cross public House in Custom House Street. This has a two-storey red faience facade with yellow pilasters. The ground floor has an elaborate tiled pub front with Venetian windows; green and gold tiling with raised lettering to fascias, tiled panelling to pilasters. The saloon bar on the ground floor has walls lined with polychrome tiles and a tiled floral frieze.
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On the south side, a bay window with a loggia stands at its border with the neighboring building. The facades of the first and second floors are divided by pilasters with capitals and rich consoles, flanking a pair of windows on either side. The pilasters continue to the third floor above a circumferential belt cornice. The corner building originally had two Dutch gables which were not rebuilt after the Second World War.
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Typical of Greek Revival, the building is symmetric across the front, with the main entry door in the middle. On each side is a tall 9 over 9 window, and the corners of the building are trimmed with pilasters with capitals. A frieze and cornice run above the pilasters and windows, and a pediment sits above that on the front. The pediment is decorated with an unusual (for Greek Revival) sunburst pattern formed from weatherboard.
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The portal is flancked by pilasters formed from the Romanesque stylized half-columns. In the archivolt is a statue of St John the Baptist, while flanking above on two protruding pilasters are statues of Saints Peter and Paul, patrons of the town. The tall gothic bell tower has three stories above the roofline, and stands on the left of the facade. The inferior story has a clock, which ring bells every thirty minutes.
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It is a two-storey rendered and iron commercial corner building constructed in the Federation Free Classical style of architecture. It was constructed with a bluestone base and brick walls and covered a total area of by . The rendered walls have an ashlar effect with pilasters incorporating decorative capitols. The first floor has decorative pilasters with stucco arches and a keystone above the semi circular fanlight with two matching timber casement windows located below.
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The Jonas Salisbury House is a historic house at 62 Walnut Park in Newton, Massachusetts. The 2-1/2 story wood frame house was built about 1847, and was one of four temple-front mansions built in the Newton Corner area. Of these, it is the only one still standing. It has typical hallmarks of the Greek Revival style, with flushboarded facade, corner pilasters, and an entrance flanked by pilasters and set under a pediment.
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The Follansbee House is set on the north side of Lowell Street (Massachusetts Route 133), located further back from the road than neighboring houses. It is a rectangular wood frame structure, 2-1/2 stories high, with a hip roof pierced by two chimneys set toward the rear. The corners have paneled pilasters, and an entablature runs below the roof line. The front facade is three bays wide, with the bays demarcated by similar pilasters.
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Thus the effect is even more severe. Ranges of square pilasters, for two-thirds of their height, are used here along the side wings. Such pilasters also rise like an open screen in the projecting middle section of the west front. These novel members provide a very interesting kind of structural articulation recalling the more original aspects of Schinkel's Classicism as much as the long east portico does that of his more conventional Altes Museum.
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A main feature of the church and monastery complex is the Bramante cloister. Built in 1500–1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in the city. It has two levels: the first is articulated by shallow pilasters set against an arcade; the second also has pilasters set against an arcade which is vertically continuous with the lower storey, but with columns located in between each arch span.
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The burial chamber is also barrel-vaulted, but is much smaller, measuring 4.8 m wide, 4.72 m long, and 5.26 m high. The walls are covered in stucco. A white podium with a cornice runs around the base of the wall, supporting white stucco pilasters in low relief, which themselves support an architrave, topped by a cornice. The wall between the pilasters is painted red, and the faux architectural members are decorated with painted rosettes.
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The recessed main entrance is surrounded by wide pilasters supporting a full entablature above a three-paned transom with molded wood trim. It opens into a center hall dividing the building. In the front are a parlor and dining room, both with Federal style fireplaces with fluted pilasters and molded wood trim over brick and stone hearths. In the dining room a molded cupboard with glass doors and shelves flanks the fireplace.
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Tuscan pilasters, of the giant order (banked on a base), frame the openings. The wide windows of the lower floor have a simple horizontal dustguard, which becomes concave at its lower ends. Over the pilasters is an entablature, with a frieze of triglyphs and, below them, three guttae. The projecting mass at the center of the principal façade has four terraced Tuscan columns, as well as twinned Tuscan pillars at the ends.
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The United Church of Christ in Keene is sited prominently in downtown Keene, on the northern side of its Central Square. It has an elaborately decorated front facade, with the main entrance at the center in a rounded arch set in a projecting pavilion. The pavilion is fronted by fluted Corinthian columns, with paired pilasters on the facade on either side of the pavilion. The columns and pilasters rise to an entablature and modillioned cornice.
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The bays are each flanked by pilasters, and are topped by decorative wood panels separated by brackets. A dentillated cornice separates the first and second floors. The second floor has paneled pilasters at the corners, and two windows with carved bracketed lintels, while the attic level has a single window with similar treatment. The building was erected in 1865 by Frank Patten, who was engaged in the manufacture and sale of boots and shoes.
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The ornament and detailing of the facades is based on the design of the arcade, which forms the east facade of the Chapel. On the lower level of the north and south facades is a blind arcade of round arches supported on pilasters. The upper level contains a row of tall narrow round arched windows separated by pilasters with Corinthian capitals. The parapet above repeats the classical balusters used on the arcade.
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The Detroit–Columbia Central Office Building is a rectangular three-story Art Deco building constructed of steel and reinforced concrete and faced with brick and limestone. The building measures 105 feet wide by 116 feet deep by 64 feet tall. The first floor is faced with limestone; the limestone continues upward in the shape of five pilasters dividing the facade into six bays. The upper floors between the pilasters are faced with light brown brick.
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The main entrance is at the center, with flanking narrow fluted pilasters, and a half-round fanlight transom above, topped by a dentillated cap. The building corners also exhibit pilasters. A single-story addition extends the building to the rear, and the property also includes a shed and garage, both from the 20th century. The house is believed to have been built about 1813 by Ichabod Bradley, a successful farmer in northeastern Southington.
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The door surrounds feature stylized carvings that imitate Beaux-Arts style classical pilasters. Embossed bronze spandrels separate the second and third story windows. Second- floor courtroom The most significant interior space is the two-story courtroom that occupies the central portion of the second floor, and its adjacent judges' chambers, library, and restroom. Flat geometric patterns and chevron designs reflect the architectural details of the building's exterior, as do the fluted classical pilasters.
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The Piatt County Courthouse, the focal point of the district, is a Classical Revival building designed by Urbana architect Joseph W. Royer. The three-story building is built with red brick and features limestone decorations. Each side of the building features an entrance pavilion. On the north and south sides, the pavilions are divided by Ionic pilasters topped by a belt course; the east and west pavilions are projecting and have two pilasters each.
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In the churchyard to the east of the former church is a mausoleum dated 1885 which is constructed in ashlar buff sandstone with granite dressings. It is rectangular in plan with a stepped hipped cap surmounted by a slab with a cross upon it. On the long sides are six short pilasters and on the short sides four pilasters. The side panels are inscribed with memorials to members of the Barbour family of Bolesworth Castle.
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On the facade, the columns are complemented by two fluted Corinthian pilasters. Between them is the main entrance, a leaded half- glass door with quarter pilasters and sidelights topped by an elliptical transom above a small cornice of ogee and drillwork molding with a volute keystone. The stained glass in the transom is supported by Adamesque cames with haunched panels above. Atop this whole entrance is a balcony with a balustrade similar to the others.
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The building features pilasters, corbeling, canted-brick courses, and contrasting stone trim around and between the windows and at the street level. It is capped with an ornate metal cornice that contains pilasters, finials, pediments, floral and circle imagery, and quilted surface textures. It was individually listed on the National Register of Historic Places in 2009. In 2011 it was included as a contributing property in the Waterloo East Commercial Historic District.
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Structure in 2015 The former Queensland National Bank, South Brisbane Branch is a two storey rendered brick building with a corrugated iron roof partly concealed by a decorative, moulded parapet with a dentilled cornice. The building turns the corner between Melbourne and Grey Streets in three stages. Every change in angle occurs between a pair of pilasters. The eastern facade, along Grey Street, is divided into five bays by paired giant order pilasters.
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The facade consists of a framed structure in the form of a triumphal arch with portals and canvas. It consists of three pillars crowned by semicircular arches supported on pilasters, similar to San Andrés de Mantua of Leon Battista Alberti. The pilasters don't have capitals but projections sculptured in the walls, as well as attached marble medallions. Above the main door is located a marble tondo from "José Laughing on the Annunciation".
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The opening is through a round headed archway, the arched section of which is filled with a cast iron plate bearing the letters AMDG. The surrounds of the archway including the voussoirs and keystone are of rough cut porphyry. Rounded and tapering pilasters with Ionic capitals, of smooth faced sandstone, flank the opening. A sandstone entablature surmounting the pilasters features a moulded cornice supported on corbels with a smaller sandstone architrave above.
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The Union Church stands in the town center of Naples, on the south side of US 302, just east of the Naples Public Library. It is a single-story wood frame structure, with a gabled roof, clapboard siding, and granite foundation. A two-stage square tower rises from the roof ridge, the first stage with corner pilasters, and the second with pilasters and louvered lancet-arched belfry openings. It is topped by a slender spire.
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The facade is symmetrical, with tall sash windows flanking the central entrance. The entrance is in a slight recess, framed by pilasters rising to an entablature and projecting cornice. A multistage tower rises from the roof ridge, starting with a square stage, above which an octagonal stage has plain circular panels in four faces. The belfry is in the next stage, which is basically square, with louvered sides and chamfered corners decorated with paneled pilasters.
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The Roxy Theatre and Peter's Greek Cafe complex is of state heritage significance as a distinctive, landmark Inter-War building designed in the Art Deco style in country NSW. Its exterior facade is finely detailed with a stepped silhouette, pilasters and entablature and simple panelling to break up its cement-rendered wall surface. The pilasters feature stylised low relief decorative patterns. Other external details include the chrome framed shopfront windows and entranceways.
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The building's corners have pilasters, which rise to an entablature that encircles the building. A two-stage tower rises above the front, with windows in the second stage and crenellations above. The tower features drip molding, pilasters and friezes similar to those found on the main body. Built in 1829 as the Epping Baptist Church, this was the first church building to be built within the municipal bounds of Columbia, which was incorporated in 1796.
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In the center of this elevation twelve engaged pilasters with decorative terra cotta caps support an entablature. The frieze of the entablature is incised and has a plain field on which are incised the words "POST OFFICE, CUSTOM HOUSE, COURT HOUSE". There is a decorative terra cotta block above the last bay of windows at each corner. This block is ornamented with two small fluted engaged pilasters flanking a swag-type design.
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The corridor and foyer were treated with pilasters and columns of Sienna marble and a color scheme on the walls and ceilings of salmon-pink, with cream-color and pale-green. The capitals of the columns and pilasters were gilded of solid brass or lacquered. The main corridor ran the entire length of the building from east to west. To the left of it was the Astor Dining Room, fronting on Fifth Avenue, which measured .
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Completed in 1931, the current post office is a single-story concrete building. Each end of the building features pilasters, doubly fluted, and a large triple casement window with a balustrade beneath. Elsewhere in the building, the casement windows are three panels tall and two panels wide; many windows feature a prominent transom. Customers can enter the building through any of three double doors, which are located between pairs of pilasters carven to resemble columns.
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The church features a stone base and water table. Eight bays feature flanking pilasters with a wide arch window. The windows of the building are the original stained glass designs.
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Burleigh House gatesBurleigh House and gates, Church Street. The Enfield Society. Retrieved 18 November 2019. The central part of the house, and probably the oldest, was ornamented by brick pilasters.
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The church has a facade decorated with four Corinthian pilasters topped by a triangular pediment. Louis Janmot made the painting depicting the Last Supper which is placed in the apse.
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The three storeys are separated by horizontal bands of stone, with the corners, frames, lateral limits, cornices, pilasters and pedestals finished in stone, while the walls are plastered and whitewashed.
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Only in the garden does the central avant-corps have decorative Ionic pilasters. The palace interior is divided into two sections: a hallway with a staircase and a living room.
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Its front central doorway is flanked by wooden pilasters and has a seven-light transom. Its front windows are 8 over 12 sash windows, with limestone lintels and sills. With .
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The walls were plaster panels, separated by fluted marble pilasters on wood pedestals. The ceiling is white plaster with decorative moldings.Jennings, Kohler, and Carson, p. 111. Accessed 2013-11-28.
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The street facade, in limestone, has giant order Corinthian pilasters and two elaborate entrance portals, created by sculptor D. Walter. The building also contains fragments of an earlier, medieval building.
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At the top of the tower is a dentilled cornice and a balustrade. The windows at the sides of the church are round-headed. The bays are separated by giant pilasters.
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The new church was consecrated in 1480. Further reconstructions occurred in 19th-century. The nave has pilasters leading to gothic tracery. The interior has a number of decaying 16th-century frescoes.
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A decorative hood crowns the entrance. Four pilasters adorn the façade on the first and second levels. They are capped by Corinthian capitals. The façade is crowned with an imposing pediment.
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At the west of the building, in the loading-dock addition, is the former courtroom. It, too, has Doric pilasters, crosetted windows with grilles and stylized fretwork on its metal vents.
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The ornate front entrance features heavily-carved Corinthian capitals on pilasters, made of Indiana limestone. Guerin Hall surrounds an open courtyard and a veranda extends across the front of the building.
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The basket has a font cartridge between Corinthian pilasters with acanthus cheeks, the laterally larger than life carved figures show Moses and John the Baptist and date from the 17th century.
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View from the west Known as Clark Hall, the Building for Employees is another Dubois building built by Carruth. The building features cast stone columns and pilasters supporting a full entablature.
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Central to the upper portion of the Clock Tower is an observation deck. The smaller tower features corner pilasters and is linked to the main tower by the concrete curtain wall.
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The cathedral has a severe seventeenth century cloister arches between pilasters. Soils appear covered by Renaissance carpets from nearby convents. In one of the walls the grave of Cardinal Cisneros remains.
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A second cornice is situated above these doors, separated from the first by small extensions of the pilasters, and decorated by a pinnacle on either extreme, where a window is placed.
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The facade is similar to the main side, but for the elimination of the paired pilasters in the base, and the twelfth floor, which is recessed only in the corner sections.
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The front entry is sheltered by a portico supported by multiple columns and pilasters, with a bracketed roof. The house was listed on the National Register of Historic Places in 1989.
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A compact but grand, three storey, rendered brick building in a classical idiom, the former Bank of New South Wales stands prominently to upper Mary Street, Gympie. Built on a sloping site with frontages to Mary and Reef streets, the three bay main elevation to Mary Street is defined by the corner banded pilasters and articulated by two implied orders of pilasters, Corinthian to the upper level and Doric within a rusticated treatment to the ground level. Projecting cornices and continuous window sills to each level together with a balustraded parapet and a blind balustrade below the upper level windows give horizontal unity. Projecting banded pilasters frame the central bay which accommodates a rusticated portal entrance below a serlian inspired window.
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Rear view of Block A from the parade ground, 2015 The building is elegantly composed with Classical detailing. Constructed from load-bearing face brick walls, it has rendered decorative elements on the ground and first floors, and rendered walls and piers that resemble channel- jointed ashlar to the undercroft level. Red-brown face brick walls in a stretcher bond are relieved with brown face brick pilasters in an English bond. The pilasters have simple, rendered capitals.
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In 1806, the hall was greatly expanded by Charles Bulfinch, doubling its height and width and adding a third floor. Four new bays were added, to make seven in all; the open arcades were enclosed, and the cupola was moved to the opposite end of the building. Bulfinch applied Doric brick pilasters to the lower two floors, with Ionic pilasters on the third floor. This renovation added galleries around the assembly hall and increased its height.
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It has corner pilasters rising to a broad entablature, with a fully pedimented gable that has a triangular bracketed panel at its center. A pair of entrances flank a three-part window, where each section has a rounded top. The entrances are each flanked by pilasters and topped by an entablature and cornice. The entrances each lead to small separate vestibules, which are separate from each other by a recess in the main chamber that houses the choir.
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Back end of the Longfellow House–Washington's Headquarters National Historic Site, as seen from the garden The original 1759 house was built in the Georgian architectural style. The pair of large pilasters that frame the central entry portal created two side wings, also framed by large pilasters. The house is influenced by the English architect James Gibbs, who published his "Book of Architecture" in 1728. Gibbs demonstrated a melding of the English Baroque style with the new Palladian movement.
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Technical College Building from the south, 2006 The building is elegantly composed of red facebrick walls and pilasters, and sandstone dressings. Its red brickwork is English bond with a light mortar. The street-facing elevations are divided into symmetrical bays by tall facebrick pilasters. The parapets of the central bays on both street- facing elevations are tallest; with the parapet in the centre of the eastern, Burnett Highway elevation featuring the words "TECHNICAL COLLEGE" in render.
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This was born by ionic columns, and was adorned with the coats of arms of the Alicorni (a silver unicorn with a golden horn on a green field) sculptured on the small pilasters of the balustrade at the first floor ("piano nobile"), and on the corinthian pilasters at the second floor.Pernier (1928) p. 204 In its renovation of 1928 Adolfo Pernier restored all these elements, which have been retained also in the reconstruction along Borgo Santo Spirito.Gigli (1992) p.
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The porch is supported by Doric columns with differing details on the first and second floors. The main entrance is at the center of the five-bay facade, flanked by sidelight windows and pilasters, with a porch entrance directly above which has similar pilasters. An integral ell extends to the rear of the building. Both the main block and ell retain original features on the interior, including woodwork and door hardware, fireplace surrounds, and stencilwork on the walls.
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This has some similarities to pre-Hispanic stone and wood carving, allowing elements of indigenous art tradition to survive. Other Baroque styles in Mexico did not adorn all of the surfaces of the interior or exterior but focused their ornamentation on columns, pilasters and the spaces between pairs of these supports. Medallions and niches with statues commonly appear between columns and pilasters, especially around main portals and windows. Decorative patterns in columns after were wavy grooves (called estrías móviles).
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The High Tops School is located in a rural setting of western Westmoreland, on the south side of the multijunction meeting of River Road, Reynolds Road, and Poocham Road. It is a 1-1/2 story wood frame structure, with a gabled roof and clapboarded exterior. Its main facade has the appearance of a Greek temple, with four pilasters supporting a projecting architrave and triangular pediment. The main entrance is in a recessed area between the middle two pilasters.
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The planar effect is emphasized by the wall sheathing, which is flush boarding, tongue-in-groove. The twelve flat pilasters rise with entasis from bases of double torus moldings to stylized Ionic capitals. Two string courses, one at first-floor ceiling height, the other below second-floor window sills, establish a horizontal orientation to balance the strong upward thrust of the pilasters. Four stone steps lead up to the double front door in the central bay of the pavilion.
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The western facete, with its interrupted rounded arch façade, is a Baroque arch flanked by four pilasters and crowned by plinths with pyramidal pinnacles. The interrupted curved arch façade is decorated by the coat of arms of archbishop Gaspar of Bragança, above which is the allegorical figure of the city of Braga. The eastern façade, with only two relief pilasters, is surmounted by and image of Nossa Senhora da Nazaré (Our Lady of Nazareth) in a recessed niche.
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Projecting pilasters form rectangular cutwaters, which extend up the face of the piers to form part of the parapet walls. The width between the parapets is 7.6 metres. The retaining walls of the western embankment have been strengthened by the addition of stay bolts, which extend deep inside the embankment and bolt fixings set onto the faces of the retaining walls. Concrete has been applied to some of the vertical pilasters and areas of the masonry.
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The Captain Oliver Bearse House stood south of Main Street in downtown Hyannis, on the west side of Pearl Street. It was a 2-1/2 story wood frame structure, with corner pilasters and an entablature that wrapped around the main block. Its entry was flanked by sidelight windows and pilasters, and topped by a heavy lintel and entablature. A five-bay two-story ell extended to the left, with a separate entrance at its center.
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As built this projecting front was supported at each end by a plain pillar, these continued upwards on the corners of the upper storeys by pilasters of the Ionic order. The facing of the house was red brown brick and the roof tiles were blue black. In the 18th century two central pillars were added and one was removed in the late 19th century. In the 19th century the pilasters were removed and the outside was stuccoed.
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The pilasters and pillars support a simple entablature that extends along the sides of the building, above which is a fully pedimented gable pediment. A three-stage square tower rises above the entrance, the upper two stages with louvered centers and corner pilasters, with a shallow dome and weathervane at the top. The town of Marlborough was incorporated in 1803 from territory taken from surrounding towns. Its congregational society was established in 1747, with the construction of a meetinghouse.
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Renaissance architecture provides the main points of reference, with Herrerian influences in its floor plan, courtyards, and the details of the façades. There are also motifs reminiscent of architects Sebastiano Serlio and Palladio. The stone façades are modulated by pilasters on pedestals. Plans originally called for building the walls pilasters, arches and other elements out of the yellow-brown limestone from Martelilla (near Jerez de la Frontera), but it proved too fragile and too often defective.
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Eight large windows, four on each side, with double hung four-over-four sashes of clear glass light the nave. The walls are frescoed beginning at the tops of the pews and extending all the way to the ceiling. Potts decorated the side walls of the nave with pilasters and moulding which frame the windows. In the chancel, Potts created a portico of four square, fluted pilasters framing a paneled recess, framed by a barrel vault in the center.
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The Park Hill Meetinghouse is located in the Park Hill village north of Westmoreland's village center, on the east side of New Hampshire Route 63. It is a two story wood frame structure, with a gabled roof and clapboarded exterior. It has a broad five- bay facade, with paired pilasters at the corners and three entrances framed by pilasters and topped by a long cornice. The entrances are sheltered by a projecting gabled portico, supported by round Doric columns.
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St. Peter's was a large two-story Greek Revival wood frame building, with a projecting square tower topped by an octagonal cupola. The front facade was flushboarded, with pilasters at the corners. The entrance was set at the base of the tower, with flanking pilasters and a gabled pediment. A round-arch window was set above it in the second level, and a clock was set in the third level, in front of the main gable.
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On its side were three rows of pilasters with two pairs of niches, one over the other. A bell-gable was on one side of the roof. When the facade was completed high plinths, consisting of a tympanum with a large panel adorned with frescoes and outlined by a mixtilinear frame, were added at the base of the pilasters. At the slopes' edges were two candelabra, and two oriflammes were at the base of the second order.
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Providence Chapel is a square two-storey building of red and grey/blue brick with some Classical features such as a pediment and pilasters. The three-bay façade has two sash windows (originally blank recesses) on the ground floor and three above. The ground-floor windows flank a double doorway topped with a rounded fanlight. Above the upper windows is an open-based pediment with pilasters at each side; these are of red brick with wide grey stone quoins.
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The Franklin County Courthouse, Southern District is located at 607 East Main Street (Arkansas Highway 22) in Charleston, Arkansas. It is a 2-1/2 story brick building, its bays divided by brick pilasters, and its roof topping a metal cornice. Its entrance is framed by brick pilasters with cast stone heads, and topped by a round arch with a cast stone keystone. The building was built in 1923 to a design by Little Rock architect Frank Gibb.
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The post office is a two-story, 7-by-10-bay steel frame building on granite foundation. Its two main facades (Broadway and Fourth) frame their entrances with engaged two-story pilasters on molded bases and capitals. At the top of the pilasters is a simple frieze. At the end bays the frieze is decorated with abstract stars and stripes with winged shields at the corners, where the stone surface beneath them changes from ashlar to rusticated.
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The Fowler House is located on the north side of School Street, between Church Street and Pike Lane in a residential area of central Lubec. The house is a 2-1/2 story wood frame structure, with a front- facing gable roof and clapboard siding. The south-facing facade is three bays wide, with pilasters at the corners and an entablature above. The entrance is in the left bay, flanked by pilasters and topped by an entablature.
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The pink marble of the arcades contrasts with the light yellow stone of the façade. The façade is further divided vertically by shallow pilasters, passing visually through the colonettes and into the pediment. The triangular pediment defines the nave and creates a striking contrast with the tuff stone of the rest of the church's façade, being of white marble divided by seven pink marble pilasters. In 1905, graffiti designs for a large Last Judgement were discovered on the pediment.
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These works were designed by Ricci and De Cesare, and executed by Edgar Williams and Mack, Jenney & Tyler. The elevator doors are framed by bronze surrounds, while the elevator lobbies feature Levanto marble walls. Other doorways leading from the lobby, as well as the fluted pilasters along the lobby's length, are also made of Levanto marble. The doors from the lobby are made of bronze, as are the capitals of the pilasters, which incorporate grape-and-vine motifs.
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On the wall above the pulpit is a Palladian Tiffany stained glass window depicting the Presentation of Jesus at the Temple framed by gilded moldings and flanked by pairs of fluted Corinthian pilasters. Bronze statues of angels are on either side. On the south wall is a choir loft with the church's pipe organ. It is in a case with another Palladian motif and carvings similar to those in the pulpit, and also framed with fluted Corinthian pilasters.
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The memorial was built in stone from the Forest of Dean, and the figures are in bronze, cast by the Maneti foundry. The overall height of the memorial is about , and the figures standing on the base are about high. The base of the monument stands on two circular steps, and has twelve sides divided by pilasters. Between the pilasters are bronze plaques inscribed with the names of the Bootle men who were killed in the World Wars.
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In each of the pendentives was a blind circular window, now replaced by the frescoes by Pontormo and Bronzino. Also a new feature for the time was the use of double Ionic semicolumns, instead of the traditional Gothic pilasters. The two columns, on the external side, are supported by angular Corithian pilasters. The theme, already used for the portico of the Spedale degli Innocenti, was repeated by Brunelleschi with little variants in the Sagrestia Vecchia and the Pazzi Chapel.
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The Rockwell House stands in a residential area northeast of Norfolk's central village, on the southwest side of Laurel Way just east of its junction with Maple Avenue. Its main block is a 2-1/2 story wood frame structure, oriented facing south, five bays wide, with a slate roof. The main facade's bays are separated by two- story pilasters, which are also found at the corners. A full entablature extends above the pilasters just below the roof line.
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This facade is oriented towards the north, consisting of a symmetric and subdivided form in five parts, divided by six pilasters. On the extremes of the building are accented doorways, surmounted by coat-of-arms and oculi, broken by granite cornices that run the length of the building. The ground floor consists of rounded window door, repeated above by windows topped with undulating forms. Over the Mansard roof are six pinnacles in masonry aligned by pilasters.
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The interior of the church is at present undergoing another comprehensive restoration. Paolo Maruscelli (1594–1649) designed the church's travertine portal, flanked by pilasters and surmounted by a triangular pediment, and the plate above it reads: D. STEPH. PROT. CONG. MONAC. / SILVESTRINORVM. The façade's second order includes a window crowned with a segmented pediment and flanking pilasters, and right at the top is a triangular pediment with a small window, a rare feature in Roman churches.
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The entrance opening is flanked by stone pilasters and topped by a stone segmented arch. The first floor windows have stone sills joined by a stringcourse of stone, and a second stringcourse connects the windows just below the stone lintels. The upper floors have six windows, divided into groups of two by brick pilasters. A corbelled brick stringcourse joins the second-floor windows, and the center pair of windows on the third floor have segmented-arch tops.
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The main facade is three bays wide, with corner pilasters rising to an entablature and fully pedimented gable. There are two entrances flanking a central window; each is framed by paneled pilasters and a corniced entablature, and topped by a smaller window. The interior has a vestibule under a balcony, which has a pressed tin roof and chamfered square columns for support. The main sanctuary has plaster walls with wainscoting, and its ceiling is also pressed tin.
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The Eastbrook Baptist Church is a single-story wood frame structure, with clapboard siding, set on the west side of SR 200. Its main facade has simple paneled pilasters at the corners, and a plain entablature (which extends around the building) below a plainly-decorated triangular pediment. The single-stage square tower that rises above is a later addition. There are two symmetrically placed entrances, each flanked by pilasters and topped by an entablature with cornice.
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The main facade is three bays wide, with the entrance in the left-side bay, and corner pilasters rising to a full entablature and fully pedimented gable. The entrance is framed by pilasters and topped by a four-light transom window, entablature, and gabled pediment. The leg of the L extends to the left from the rear of the main block, and its front is also flushboarded. The side wall between has a single round-arch window.
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The Luther Elliott House is a historic house in Reading, Massachusetts. The modestly sized 1.5-story wood-frame house was built in 1850 by Luther Elliott, a local cabinetmaker who developed an innovative method of sawing wood veneers. The house has numerous well preserved Greek Revival features, including corner pilasters, and a front door surrounded with sidelight windows and pilasters supporting a tall entablature. The house was listed on the National Register of Historic Places in 1984.
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The entrance consists of a six-panel door flanked by paneled pilasters and topped by a corniced entablature. The interior follows a central chimney plan, and retains a large amount of original woodwork. Doors and windows are framed with pilasters, and fireplace walls have carved mantels and paneling. With The house was built about 1790 by Edward Frisbie, the grandson of another Edward Frisbie, who was one of the original grantees of land that became Branford.
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Paired Corinthian pilasters frame the ends of the pavilions. The windows in the center bays where the bowling allies are located are divided into four unequal sections by a Latin-cross sash.
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The largest and most ornate is that to the brothers John and Rev Moses Hodges, both of whom died in 1724. It is of grey and white marble and has fluted pilasters.
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The main entrance is flanked by pilasters, and topped by a four-light transom window and dentillated triangular pediment. The house was listed on the National Register of Historic Places in 1985.
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A concrete wall built in the late 1930s surrounds the perimeter of the field. It features capped pilasters approximately every six feet. A parking area is sited just north of the field.
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It is decorated with painted tulips, brass ornaments, and pilasters in green, yellow and red against a pale yellow background. The church was restored both in 1861-1862 and again in 1926.
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Each bay supports a dome. The domes are not visible externally since they are reverse domes (picture). The roof is flat. Each wall has five arches that are held by square pilasters.
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It dates from 1621 and is attributed to Giuseppe Carrera or Giacomo Lo Verde. The rather handsome façade with a simple portal and four noteworthy pilasters on tall bases is of 1608.
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It sits on a rubble stone basement and features pilasters, brownstone keystones, and a pressed metal cornice. Note: This includes It was listed on the National Register of Historic Places in 1985.
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The church is oriented north- south and has a tower at its north-eastern corner. It is built in red brick with pilasters at the corners and between the round arched windows.
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The fanlight and keystone The building is seven bays wide. The facade is decorated with pilasters. The gate is topped by a fanlight and the keystone features a relief of a seashell.
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Under the portico are two vertically elongated sash windows, and a front entrance framed by pilasters decorated with carved acanthus leaves. A dentiled cornice runs across the main portion of the house.
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The front facade has detailed corner pilasters and is topped with a fully pedimented gable and a wide frieze. A recessed porch fronts the wing of the house, and contains two entrances.
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Other notable buildings include the Ice House Theatre (c. 1885), Randall House Antiques (c. 1845), Information Center (c. 1845), House of the Pilasters & Grant's Drug Store (1839-1844), "Becky Thatcher" House (c.
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It has paired Ionic pilasters bracketing the central windows of its second and third floors, above the front entrance. The entrance is topped by a broken pediment with a carved stone escutcheon. With .
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It is a single rectangular building. It has a rectangular, triangular-ended presbytery. There is a rectangular sacristy in the axis of the building. The facade of the church is divided by pilasters.
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The entrance porches and doorways to each house are considered particularly impressive. The details differ slightly from house to house, but most have open-topped pediments, entablatures, semicircular fanlights and Tuscan-style pilasters.
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It has a rectangular plan and is in two storeys. The architectural style is Greek Revival. The north front is symmetrical with five bays divided by pilasters. The porch is in Doric style.
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The building is seven bays wide. The five eastern bays date from 1798 while the two western ones date from the extension in 1887–88. The facade is decorated with seven Ionic pilasters.
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The hall has a three-storey Regency style facade. The entrance has two full-height pilasters, and four columns holding up an ionic porch. There is a Gothic style sawmill on the grounds.
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Both the second and third floors are tall. The hall has a cupola topping the structure. Other details include pilasters, dentils, and brick corbelling on the exterior and circular stairways on the interior.
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The main entry was flanked by sidelights and simple pilasters, and topped by an entablature. The house was listed on the National Register of Historic Places in 1989. It was demolished circa 2012.
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Some of the rooms are decorated with pilasters, medallions and blind niches finished in plaster. A graffito in one of the upstairs rooms has allowed the building to be dated to c. 710.
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The facade is ornamented with four pilasters, a handsome pediment, and four very un-Greek Rundbogenstil, or round-arched, windows. The building was constructed by local builder John B. Walton.Gordon, Mark W. (1996).
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It features an arched entryway with terra cotta trim and pilasters, a terra cotta cornice, and brick parapet. Note: This includes It was added to the National Register of Historic Places in 1988.
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Between them are pilasters that terminate in pinnacles. The parapet of the tower is embattled. At the east end of the church is a circular window, which replaced the original bomb-damaged window.
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It is a two-story wood-frame structure, six bays wide, with a side-gable roof and a central porch sheltering the pair of entrances. The house was built in 1845, and features very straightforward Greek Revival styling, most notably in the pilasters that run the full two-story height of the building, separating pairs of bays. The gable dormers in the roof have full pediments and pilasters. The building was listed on the National Register of Historic Places on June 30, 1983.
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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 Nibbia Chapel was an octagonal building with a dome. The façade had a large portal with the main doorway, which was flanked by two sets of Doric pilasters on either side. The door had an architrave with a marble plaque, which was topped by a broken rounded pediment. The upper section had a central arched window between small clusters of pilasters and running scrolls, and it was separated from the lower half of the structure by a thin cornice.
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The Deerfield Town House is located on Church Street (formerly Old Centre Road), just west of its junction with New Hampshire Route 107. It is a 2-1/2 story wood frame structure, with a granite foundation, gabled roof and clapboarded exterior. Its corners have pilasters rising to full entablature, and the gable end is fully pedimented, with a small oculus window. There are three doors on the main facade, each flanked by Doric pilasters and topped by an entablature.
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Between them, from floor level to just below the ceiling, are paired, rounded pilasters encrusted with tracery. Single columns sit between the end balconies and the wall corners. Brass candelabra are fixed between each balcony at balustrade height and concealed lights at the top of the pilasters shine up onto the arched, painted ceiling. Dominating the north-western end wall of the foyer is a large false Gothic window, made from plaster with panels of reflective bronze paint imitating glass.
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The main bank entrance led to a lobby wide and deep. The lobby had a barrel vault ceiling of leaded came glasswork, which provided extensive natural light. The lobby walls and pilasters were clad in Italian marble. The pilasters, architraves, door lintels, and pier above the door featured inlays and designs of colored glass, gold, and mother- of-pearl by Tiffany & Co. On the left (east) side of the lobby, a door led to the foyer entrance for the upper floors.
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The Denton House, also known as the Denton-Weeks House, the River House, and the Smyth-Letherbury House, is a historic residence at 107 Water Street in Chestertown, Maryland. It is a three-story brick building, with a five-bay front facade framed by corner pilasters with stone capitals. The building has a raised basement, with a stone stringcourse between it and the first floor. The front entrance is centered, with an elaborate surround consisting of pilasters, entablature and dentillated gable.
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The main facade is blank except for the main entrance and wide corner pilasters. The entrance opening is framed by pilasters and topped by a broad corniced entablature; the doorway within the opening is framed by paneling matching that of the door. The church's tower rises to a height of in square tiered stages. The church was built in 1844, when the community was at the height of its prosperity, and is one of Berkshire County's finest examples of Greek Revival church architecture.
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This building was built in the second half of the eighteenth century, replacing the original of the sixteenth century. Its cover, Baroque, contains decorative elements such as polygonal pilasters with acanthus leaves that frame alluding to the Roman martyr images. Inside has one of the most remarkable architectural structures of Tlaxcala, achieved based on fluted pilasters and Ionic capitals and beautiful roofs. The dome reminiscent of Puebla Cathedral, in the presbytery is a large altarpiece where stipes and twisted columns are combined.
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The interior is on the Latin cross plan, with a nave and two aisles with cross- vault, divided by small cotto pilasters on the sides; the apse is flat. A fifth bay forms the presbytery, while the transept arms are two rectangular bays, with a crossing dome. The last bays of the nave have square pilasters, supporting the choir. The rich Baroque frescoes in Chiaravalle are a striking exception to the Cistercian preference for few, if no decorations in their buildings.
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The pilasters are similar, with a stringcourse of dentils at the impost line and hood molds over the arches. These break the main cornice, along with the brick piers at the corners and center bay. The windows themselves have stained glass border panes in the upper section. From large foot scrolls on the arch tops spring the three pilasters that frame the two recessed 16-pane windows in each of the gabled dormers that pierce the roof, finished in fish-scale slate.
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They are 15 bays wide on the south (Main Street) side, 13 on Market Street, 11 on Nepperhan and nine on Buena Vista. Atop is a flat roof. With the exception of the east, which serves as a loading dock, all facades have a similar decorative treatment: flat engaged Corinthian pilasters dividing all bays save those on the corners, which are set off on the non-corner side by paired pilasters. All support an entablature with a frieze decorated with curved rosettes.
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The main block of the house is over sixty feet long and twenty-three feet wide with a rear ell-wing measuring fifty-six feet long by twenty feet wide. The two story main house, contains the classic elements likely introduced to the Bluegrass Region by architect Matthew Kennedy. These elements include giant pilasters, which define a central pedimented full height portico. Also included are double front doors with Greek Key decorative crown and supporting decorative pilasters and symmetrical facade.
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Levett replaced the existing house with a new mansion in the Georgian style. The main east fronting block had three storeys and four bays flanked by two double storey two bayed wings and with a five-bay orangery attached to the south. The central doorway carried pediment and Ionic pilasters. The house was much extended and altered in 1817 by his son, also Richard Levett, when the pilasters and pediment were removed and the main entrance was moved to the west front.
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The southern bay differs from the rest of the facade with its finer and more decorative treatment. The openings on the second level are rectangular and separated by fluted pilasters, while on the third level the openings are arched and separated by Corinthian pilasters. There are ornamental keystones above the arches and the central keystones bear the initials "M" and "P" respectively for Manwaring and Paling, the original building owners. A prominent cornice with a course of large dentils runs across this section.
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Crump, p. 24 Timbers were set into the upper courses of most walls to stiffen them. Massive exterior buttresses were also employed to fortify wall sections (see the photo at right), but this method of reinforcement required the inclusion of pilasters on the inside of the building to resist the lateral thrust of the buttresses and prevent the collapse of the wall. Pilasters and buttresses were often composed of more durable baked brick, even when the walls they supported were adobe.
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The two lateral sections have giant pilasters surmounted by triangular tympani.Pisaroni, 46 The Palazzo Gavazzi, typical of the mansions built during the Restoration period, was designed by Luigi Clerichetti in 1838. Each floor bears its own decorations: Doric columns on the ground floor and various pilasters on the first and second floors, rather than the huge decorative works which were popular at the time. The symmetrical facade is centred on a portal with four Ionic half- columns supporting the first-floor balcony.
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Mansart's design, of 1685, articulated the square's unified façades according to a formula utilised in some Parisian hôtels particuliers, (palatial private homes). Mansart chose colossal pilasters linking two floors, standing on a high arcaded base with rustication of the pilasters; the façades were capped with sloping slate "mansard roofs", punctuated by dormer windows.Rochelle Ziskin, "The Place de Nos Conquêtes and the Unraveling of the Myth of Louis XIV" The Art Bulletin 76.1 (March 1994:147-162) p. 152, note 23; illus.
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The Healey and Roth Mortuary Building is a historic commercial building located at 815 Main Street in Little Rock, Arkansas. It is a two-story brick structure, with a combination of Classical and Renaissance Revival features, designed by Sanders & Ginocchio and built in 1925. Its five-bay facade is divided into three sections by pilasters, the central three-bay section including the main entrance. The entrance is set in a stone surround, with pilasters rising to a segmented-arch pediment.
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On the first floor, the middle three bays are outlined by slightly-projecting arches, the central bay (where the entrance is) being slightly wider. The entry consists of a single door, flanked by pilasters and sidelight windows embellished with oval tracery, and topped by a semi- elliptical fanlight with similar tracery. The entry is sheltered by a portico supported by four Corinthian columns, with a latticework balustrade on top. Above the central projecting arches, four fluted Corinthian pilasters rise to the roof level.
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Main facade and portals Construction of the structure began in 1258, and the church was consecrated in 1371. The church has a Latin cross layout with three naves, divided by hexagonal pilasters. The tall hexagonal bell-tower near the apse was completed in the 15th-century, and the copper-sheathed cupola (1548) and ribbed ceilings were not completed until the 16th century. The main facade is in a narrow alley, and has three portals, each with a peaked tympanum and thin elaborate pilasters.
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The Woodruff House stands east of downtown Southington, on the south side of Berlin Street (Connecticut Route 364) between Pleasant Street and Butternut Lane. It is a 1-1/2 story wood frame structure, with a gable roof, central brick chimney, and clapboarded exterior. Its front facade is five bays wide, with corner pilasters rising to an entablature that runs beneath the eave. The centered entrance is flanked by sidelight windows and pilasters, and is topped by a corniced entablature.
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Three pediments of various sizes top the front facades, with pilasters connecting them to the foundation. Fireproofing was a major goal during the construction process, and some structural elements were included with the goal of fire resistance, such as the dome (made of iron) and the roof (made of slate). At the center, above the dome, stands a tower that employs elements used elsewhere, including stonework, pilasters below pediments, and a mansard roof. Its overall appearance is that of the Second Empire style.
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St Nicholas is nave building with an apse and bell tower at the main facade. The main front in the central part is slightly accentuated, processed by single and doubled pilasters, cornices and attic wavy line on the edges of a classicist vases. Slender tower that emphasize edge pilasters ending baroque arches with the lantern. Vaulted nave of the church is divided into four bays, which are separated by a wide archivolts resting on Ionic capitals, while the semi-dome-vaulted sanctuary.
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Two engaged pilasters with Tuscan capitals support the roof at the rear. The south wing is only one story in height, but has similar treatments to the main block, with less decoration. A full porch spans the west facade, where a secondary entrance is located in the middle of its three bays. It is also floored in gray limestone with similar steps, but is supported by Doric columns, backed at the wall by similarly treated pilasters, with a plain frieze.
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At first-floor level, Classical motifs include Composite/Corinthian pilasters and an intricately decorated pediment. The tall pilasters are arranged in pairs flanking the central bay and singly at the outer bays. The pediment is topped by another terracotta urn and is flanked by a stone balustrade on both sides. There are three arched windows to the centre bay, the centre one taller and wider and all featuring engaged columns (columns which are partially sunk into the wall to which they are attached).
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The frontage is divided into three parts by tall grey pilasters. The left and right bays are further forward than the wider central bay, and have matching entrance: each has a lintel featuring a triglyph and metope pattern, smaller white pilasters and a pediment. Above the left (west) entrance is Mackintosh's crown monogram; above the right is a monogram of an eagle, the symbol of John the Evangelist. A large grey entablature, with prominent triglyph and metope work, sits above the three bays.
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The Burlingame–Noon House is a historic house built around 1800 in Cumberland, Rhode Island. The structure was originally a simple, one-and-one-half-story, five-room-plan, centre-chimney Federal style cottage, constructed in the first decades of the 19th century. In the middle of the century, it was enlarged into a two-and-one half-story, flank-gable Greek Revival house. It has panelled corner pilasters and a trabeated central entrance with sidelights and pilasters in a five-bay facade.
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Only the order used is different. The columns and pilasters of the central building use composite Corinthian order (it is pictured in its details with more freedom and distinction as compared to usual canons). There are statues put on column bases, on each side of the four column portico. The columns and pilasters of the service wings use intricate Ionic order with the so-called diagonal column caps emphasizing artistic independence and role of the service wings in the facade arrangement.
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Sculpted detail below the veranda The fountain abuts the main floor of a residence, underneath a verandah, which also doubled as covering/awning. It is alongside the western wall of the Largo da Alfândega and oriented towards the support wall of the Rua Nova da Alfândega. On either side of the fountain are two ribbed pilasters that extend into the corbels of the veranda. Between these pilasters are five granite slabs, with the iron waterspout located in the second slab.
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The US Post Office-Quincy Main is a historic post office at 47 Washington Street in Quincy, Massachusetts. It is a Classical Revival structure, two stories tall, built in 1909 out of limestone. It has corner pilasters, and a central entry section that projects slightly, also with articulating pilasters, and three recessed entryways. The building was originally built to house a variety of federal government offices, as well as providing the first purpose-built home for Quincy's main post office.
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All the bays save for the centrally located main entrance have 12-over-12 double-hung sash windows. At the roofline is an architrave of three narrow bands topped by a plain wide frieze below the projecting cornice. The lower tier of the cupola has clapboard siding with corner pilasters and a frieze and projecting molded cornice of its own. Atop that is a balustrade surrounding the top tier, where each face has two Doric pilasters flanking a louvered vent.
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The Captain John Oliver House is a two-story building with clapboard siding. Greek Revival elements include corner pilasters with simple entablatures topped by gable-end pediments, dog-eared window moulding, and a front door flanked with small pilasters, a transom window, and sidelights. There is also an arched Gothic Revival window in the center of the front gable. The house has been expanded with a front porch and additions to the side and rear, but retains its original architectural features.
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The entry to each pedestrian footway was defined with a rusticated arch of sawn stone which combines both Classical and Egyptian vocabularies. The pylons supporting the arch are tapered towards the base of the arch from which they continue as attached pilasters with parallel sides. The arch springs from a cornice at the top of the tapered portion of the supporting pylons. Above the arch a cornice defines the base of a Doric frieze which continues around the tops of the attached pilasters.
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Levelling between the Sava Promenade and Pariska Street was done by constructing the bifurcated arched staircase with the ramps blending in the central platform, from which one staircase ramp prolongs towards the Sava Promenade. The facade facing Pariska Street is decorated with the drinking fountain in the shape of a lion's head placed in the arched niche decorated with shallow pilasters. The railing is built in the massive form with shallow pilasters, as decoration. The stone was used as the main material.
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Rising above the entrances is the tower, which begins with square stages topped by a sawn balustrade, which encircles the octagonal belfry. Four sides of the belfry have louvered openings, with pilasters rising to an entablature, above which the octagonal steeple rises to a spire. A vestry has been added on to the nave, projecting to the right from the rear. Interior decoration includes molded window surrounds adorned with rosettes and vines, paneled pilasters flanking the doorways to the nave and the chancel.
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The front gable is fully pedimented, interrupted at the top by a square two-stage tower. The tower has a clock in the first stage, and a belfry in the second; the belfry stage has pilasters flanking rectangular louvered openings. A shallow gabled section projects from the center of the main facade, supported by four Doric columns. The three bays created by the columns each house an entrance, set in a rounded-arch opening with flanking pilasters and a keystone above.
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The Music Room – known as the "Red Room" – features an alcove flanked by red marble columns and pilasters, both with capitals highlighted in gold leaf. Adamesque swags and garlands, also highlighted in gold, are carved into the wall and ceiling along with musical motifs such as lyres, horns and Pan flutes. These motifs recur in the stained glass window transoms. The south wall is of mahogany with brass trim; it features the Music Room's fireplace, flanked by carved Corinthian pilasters.
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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 Franklin B. Jenkins House is a historic house at 9 Middle Street in Stoneham, Massachusetts. The house was listed on the National Register of Historic Places in 1984, at which time its address was listed as 2 Middle Street. At that time it was noted for its Greek Revival features, including corner pilasters and a front portico which includes pilasters and sidelights flanking the door. Subsequent residing of the house has obscured or eliminated most of these details (see photo).
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The former Bridgewater Town Hall is a two-story wood frame structure, three bays in width, with a hip roof and weatherboard siding. The main (west-facing) facade has a central entrance topped by a relatively large transom window, and framed by pilasters and an entablature with cornice. The entablature and cornice are repeated at smaller scale above the sash windows that fill the remaining bays. The building's corners are decorated with pilasters, and an entablature encircles the building below broad eaves.
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The piers of the naves are huge stone blocks laid horizontally and covered with either four half-columns or four pilasters. The interior of the church is 20.70 meters tall with the sense of verticality being intensified by the repeating pattern of half-columns and pilasters approaching the high altar. The barrel vault's outward thrust is met by the half barrels of the galleries which run the length of the nave and transept. The crossing dome is a delicate octagon set in square.
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Stylistic modifications to the building made in the 1870s include grouped brackets at the eaves, a decorative gable-peak of Gothic origins, and a louvered bell tower with pilasters and a concave-pyramidal peak.
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The tower is in two stages on a plinth. At the corners are Doric pilasters. In the lower stage is a round-headed west doorway. The upper stage contains two-light louvred bell openings.
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While most industrial lofts were utilitarian in design, the factory has some stylistic features; pilasters and an entablature frame the entrance, and the parapet atop the building has fortress-like projections at the corners.
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The entrance door is flanked by pilasters and has a fluted frieze. The south side features a prominent canted bay window. The corner finials to the parapet are carved in the form of pineapples.
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A Doric portico extends from the main building. The interior has a cross plan, with four entrances. Double staircases lead to the courtroom. The judge's bench is framed by heavy wooden pediment and pilasters.
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The miniature shrine is also dedicated to Shiva. It has sixteen-sided base which is carved from bedrock. The circular wall and superstructure are of structural type. There are lions depicted on the pilasters.
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The rear facade is in neoclassical Louis XVI style. Unlike the front facade, the rear facade has three horizontal sections. The bottom is conceived as a pedestal. The façade has pilasters and a pediment.
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The 14th century bell tower rises above the chapel on the right side, supported on pilasters and arches. The belfry is illuminated by Gothic windows. During the 2004 restoration, the bell mechanism was electrified.
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It is a two-story hipped-roof building. It has a portico with square columns and a balcony on the second floor, and it has colossal pilasters on each end of its facade. With .
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The building features Doric order pilasters at the entry and an octagonal lantern on the roof ridge with paired Tuscan order columns. It was listed on the National Register of Historic Places in 1996.
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The walls are divided by pilasters, which supports the continuous entablature. The chapel has a rich stucco decoration. Its author is Giacomo Antonio Corbellini. The decorations of the chapel are by Václav Jindřich Nosecký.
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The central seven bays form a recessed entrance behind six unfluted Ionic columns. Elsewhere the bays are divided by pilasters. The windows are sash windows. Along the top of the building is a cornice.
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The building has relatively simple Greek Revival styling, including corners trimmed with pilasters. On October 7, 1983, it was added to the National Register of Historic Places, where it is listed at 210 Linwood.
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The walls of the main room of the pavilion are decoratively painted with Ionic pilasters between which are decorative elements depicting medallions, vases, birds and antique figures. It also contains an unusually large chandelier.
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The ossuary dates to 1635 and stands on the west side of the church. It is dedicated to Saint Cadou, a 16th-century monk. The building's façade has four windows separated by ionic pilasters.
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The main architectural detail is the front door surround, which features sidelight windows and recessed, paneled pilasters supporting a tall entablature. The house was listed on the National Register of Historic Places in 1984.
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The pilasters to the chancel use a contrasting darker brick. Internally the church is plastered with polished cedar joinery. The walls are painted a soft blue grey. The ceiling was replaced with plasterboard in 1964.
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These ranges were added in the early 18th century. Each elevation is a symmetrical composition. Although differing in length, each facade is divided into three parts by giant pilasters reaching from plinth to parapet cornice.
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Dated from ca. 410 - ca. 400 BCE, it is made entirely of Pentelic marble. It stands 1.49m high and 0.92m wide, in the form of a naiskos, with pilasters and a pediment featuring palmette acroteria.
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The floor plan of the palace is U-shaped. A wide staircase leads to the first floor. The courtyard wings are linked by a courtyard gallery. Crossbars are split up by pilasters with stylized chaplets.
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At the first story three French doors are recessed in a Palladian arcade. Above them is an entablature and central arch flanked by oval windows and supported by a combination of pilasters and freestanding columns.
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Among the clearest of the Adam details are the numerous dentils on the pediment, while the Greek Revival remains prominent through elements such as the fluting on both the Ionic-style capitals and the pilasters.
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It is flanked by pilasters and topped with a transom light. A brick chimney rises from the north. On the south end is a one-story gabled wing. There are two outbuildings on the property.
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The entrance is from the south. Each façade is pierced by a single window. The walls contain shelf-like eaves. The central, northern nave terminates in a semi-circular apse, surrounded with pilasters and arches.
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The gallery is ornamented with fluted pilasters. The north and south porticoes were probably converted to office space at this stage. The windows are rectangular with pediments. The portico entrance doors are also pediment-ed.
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It had a fine Doric portico with a bell turret over it.Old and New Nottingham. William Howie Wylie. 1853 The roof of the church was supported by 14 Corinthian columns and pilasters at the angles.
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A small extension from the side roof of the jagamohana has the image of a lion sitting on its hind legs. The exterior walls of the structure are decorated with pilasters with nagas and naginis.
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See also: The lobby features marble floors, wainscoting, pilasters, and door trim. The post office was converted to a courthouse annex in 1979. It was listed on the National Register of Historic Places in 1982.
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The front entry is framed by sidelight windows and pilasters. It is the only surviving Thompson design (of seven known) in Helena. The house was listed on the National Register of Historic Places in 1982.
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It incorporates elements of restrained Green revival detailing which includes symmetrical planning, elevations with breakfronts and inverted pilasters at corners, classical portico, verandas, vaulted plaster ceilings and Greek Revival stone exterior and timber interior architraves.
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The two storey building has a hipped roof and rusticated quoins. The round-headed doorway has Doric pilasters on either side. There is a 19th-century addition to the left hand end of the building.
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At the two upper floors are pilasters with finely sculpted capitals. In the interior are a frescoed private chapel and, in the staircase, 18th-century frescoes attributed to Atanasio Bimbacci, Dionisio Predellini, and Giuseppe Collignon.
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The interior still has three naves, but the pilasters lack capitals. The church houses a Birth of the Virgin and a Madonna of the Rosary painted by Andrea Polinori.Comune of Massa Martana, entry on Abbey.
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Talvacchia The Villa Lante al Gianicolo (1520–21) was a smaller suburban villa in Rome, with a famous view over the city. Romano made the whole building suggest lightness and elegance to exploit the ridge-top position and overcome the rather small Roman footprint. The orders are delicate, with Tuscan or Doric columns and pilasters in pairs on the main floor, and extremely shallow Ionic pilasters above, whose presence is mainly conveyed by a different colour. Alternate loggia openings are heightened by arches above the entablature.
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The library building is a multi- section wood frame building, with gabled roof lines and clapboard siding. Its most prominent feature is a tetrastyle Greek Revival temple front, with four fluted Doric columns supporting a broad entablature and a fully pedimented triangular pediment, with a louvered fan at its center. The building corners at the back of this front feature paneled pilasters, and the center entrance is framed by sidelight windows and pilasters, and topped by an entablature. Ells extend the building to the right side.
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The central portion of the front (south-facing) facade is demarcated by a gable in the roof, and four pilasters, two on either side of the double-door entrance. Between each pair of pilasters are narrow windows on the first and second level, and there is a three-part window above the entrance. Sash windows flank this entrance section on either side, with wooden panels separating the windows on the first and second floors. The building houses town offices and a large auditorium space.
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The new frescoes were painted in 1936 by the Slovene impressionist painter Matej Sternen. The front facade of the church was built in the Baroque style in 1703–1706 and redesigned in the 19th century. It has two parts, featuring pilasters with the Ionic capitals in the lower part and pilasters with Corinthian capitals in the upper part. The sides of the upper part are decorated with volutes and at the top of the front facade stands the statue of Our Lady of Loretto, i.e.
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The Warren Congregational Church occupies a prominent position in the small village center of Warren, at the southwest corner of Sackett Hill Road and Kent Road (Connecticut Route 341). It is a 2-1/2 story wood frame structure, with a projecting entry pavilion topped by a gabled pediment. The pavilion is divided into three bays by two-story pilasters, with each bay containing an entrance. The identical entrances are slightly recessed behind a frame of pilasters, and are topped by half-round transom windows.
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The mansion from the southeast, showing the formal entrance door, with pilasters and pediment The wing nearest the water appears to be assembled from yet another recycled frame. It consists of a tall vestibule, a grand saloon, and a long room with two small ancillary rooms, plus attics. The exterior of the entry has a formal frame of pilasters and pediment. Of the several exterior doors, this is the sole one with such elaboration, signaling its priority above the other doors, a pattern that continues within.
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The former Myer Store, located in central Queen Street, comprises a series of contiguous three and four storeyed brick buildings. Despite being originally separate buildings, the rendered facade is given unity and coherence by the repetition of Classical details. The main section of the facade features, on the upper levels, bays of arched openings separated by simple pilasters. On the second level the arches are supported by columns with rosette capitals, and on the third level the arches are supported by pilasters with Corinthian capitals.
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The entrance is also in a rounded opening, with sidelight windows and a half-round transom above. The entry is sheltered by a projecting half-round portico, supported by round columns and fluted pilasters. The interior has original marble floors and oak paneled walls that have pilasters rising to entablatures beneath a coved plaster ceiling. The building was completed in 1913 to a design by architect Guy Lowell, with funding provided by the Kimball brothers, who were prominent local businessmen, and land donated by Frank Gerrish.
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A primary Greek Revival feature is its symmetrical, three- bay facade, classically detailed with a centered, single bay engaged portico flanked by recessed side bays. The engaged portico features paired pilasters supporting a triple banded architrave, a wide frieze, a molded cornice, and a pediment. A molded panel parapet surmounts the facade with paired piers that echo the arrangement of the pilasters below them. The wide frieze continues along either side of the building, which is brick clad and has six window bays along its lower levels.
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The facades of the building were designed with elements of both the Georgian Revival, and Second Renaissance Revival styles which were popular at the beginning of the twentieth century. The front (south side) has the most interesting mix of elements. The symmetrical elevation is organized around five central bays which are defined by single Doric style pilasters at the interior bays and paired pilasters at the ends. The central portion is then flanked on each end by narrow bays that are only slightly recessed.
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The plan is a perfect square with a smaller square scarsella or altar on the south side. The scarsella is axially positioned in the wall, and connected to the main space by an arched opening. The interior of the main space is articulated by a rhythmic system of pilasters, arches that emphasize the space’s geometric unity. The pilasters are for purely visual purposes, and it was this break between real structure and the appearance of structure that constituted one of the important novelties of Brunelleschi’s work.
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Pilasters on the lower part of the wall have Ionic capitals while those on the upper part have Corinthian capitals. High leadlight windows, positioned between pilasters, light the space from above. The choir mezzanine, located at the eastern end overlooking the main space and accessed from the upper level of the arcade, is a curved cantilevered balcony with an ornate timber balustrade. At the western end of the main space a chancel arch, similar to but grander than the entry arch, frames the high altar.
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The Helen Newberry Nurses Home is a large three-story, L-shaped, red-and-brown brick Jacobean Revival residential building. The basement level is partially raised, and the roof is gabled and covered with slate. A three-story limestone entry bay projects slightly from the center of the main facade. Within this bay on the first floor is an arched entryway flanked with Doric pilasters, while the second story has two windows flanked with Ionic pilasters, and the third floor has a triple window.
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Built in 1939, and named for renowned actor Richard B. Harrison, who taught Drama and directed productions at the college; Harrison Auditorium was designed by architect Leon McMinn. The auditorium was constructed by the Public Works Administration for usage as the college's main auditorium. The flat-roofed two story building features seven-bay main entrance with the bays defined by plain brick pilasters with simply molded stone bases and capitals. Extending above the pilasters is a plain stone frieze inscribed with the auditorium's name.
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The Franklin Block is set at the northeast corner of Main and Perkins Street in the city's Campello neighborhood, a secondary area of industrial and commercial development south of the city's downtown. The building is a four-story L-shaped brick structure with Romanesque Revival styling, and an angled section at the corner. Its two street-facing elevations have storefronts on the ground floor, defined by plate glass windows and entrances demarcated by fluted pilasters. The upper floor bays are demarcated in groups by tall brick pilasters.
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The former Pioneer Shire Council Building is a small, reinforced concrete building in the Art Deco Style on Wood Street. The Wood Street facade is divided into three sections. The central section has 3 round arches on square pilasters, two free standing and two half-width engaged on the outsides. These pilasters are fluted with a zigzag cut, and topped with a square capital of coloured glazed terracotta featuring a stylised design representing sugar cane, nautilus shells and perhaps palm fronds surrounded by a zigzag border.
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John Crunden designed the Castle Inn ballroom in the Adam style, which is still discernible in the interior despite the many changes of use the building has experienced. The internal walls had elaborate pilasters decorated with scrolls and friezes, and at the north and south ends there were recessed areas separated from the main section by columns. Between the pilasters were a series of wall paintings. When the building was re-erected at Montpelier Place, galleries were added above the north and south recesses.
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From 1980, he picked 56 flyover pilasters in Rio de Janeiro, ranging from Cemitério do Caju to Novo Rio Bus Station, a distance of roughly 1.5 km. He then filled the flyover pilasters with inscriptions in yellow-green proposing his criticism of the world and his alternative to the unease of civilization. During the Eco '92, the Prophet Gentileza placed himself strategically in the place through which passed the countries representatives and incited them to live the kindness and enforce it throughout the Earth.
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The south-facing main facade is five bays wide, with paired windows flanking a center entrance with window above. The entrance is set in a recess that is demarcated by pilasters, and includes sidelight windows and a rectangular multi-light transom window. The corners have paneled pilasters, which rise to an entablature and cornice that encircle the building. A hip- roofed, single-story porch extends across the front and around to the east, with a geometrically patterned railing and square posts with scroll-cut brackets.
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Hammond Hall is set on the south side of Main Street, on the west side of the village center of Winter Harbor. It is a 1-1/2 story wood frame structure, with a front-gable roof, wood shingle siding, and a raised stone foundation. The building's front corners feature doubled pilasters, and the eaves are studded with doubled brackets. A flat-roof porch extends from the north-facing front facade, supported by paired square columns and paired pilasters, with a balustrade on top.
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Externally, the rough hewn sandstone walls to the side and rear of the building contrast strongly with the finely carved symmetrical parapeted front facade. This facade has paired Doric columns, flanked by one and a half squared pilasters. The columns are spanned by a large pediment inlaid with the compass and square symbol, resting on an entablature inlaid with other masonic and Hebrew symbols. The columns and pilasters rest on a high plinth, and frame an arched doorway surmounted by a pediment and three arched windows.
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The castle was equipped with three main halls and several audience rooms with stucco walls and partially painted ceilings in Roccoco style. The façade was characterized by solid plasterwork, rectangular windows, simple stone jambs, rustication marking the corners, and a tarred, saddle-shaped roof. On the court side, the main wing was subdivided by two portals with Doric pilasters, topped by triangular pediments with figurative sculptures. The garden side had 22 window axis and was subdivided asymmetrically by two window bays framed with pilasters, but without pediments.
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The Jason Skinner House stands on the south side of Wintergreen Circle, a loop of public housing adjacent to the municipal office and library complex in central Harwinton. It is a 2-1/2 story wood frame structure, with a side gable roof, interior brick chimneys, and a clapboarded exterior. It has wide corner pilasters rising to an entablature. The main facade is five bays wide, with a center entrance flanked by sidelight windows and pilasters, and topped by a transom window and cornice.
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Surmounting the pilasters are panels which project from the face of an entablature but have similar mouldings. Above this is a large broken triangular pediment which acts as a parapet, and runs the entire width of the building but comprises a central signage panel, broken arched pediment at the apex, mouldings and urns. Between the pilasters on the face of the building are a number of round arched window openings. The openings on the upper storey, glazed with timber framed sashes, are above blind Italianate balustrades.
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The Albert is a four-story building constructed of yellow brick with red brick dressings and stucco trim. It is three windows wide facing Victoria Street, and five window deep with a two-storey, three-window extension. The original canted ground floor frontage is central paneled with glazed doors and flanking windows framed by granite pilasters carrying fascia, cornice, and baluster with ball finials. The return features coupled pilasters with small pediments over the cornice than runs across the full extent of the ground floor.
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The church is built in a Dutch baroque style and its basic layout is a Greek cross. The walls rest on a granite foundation and are made of red and yellow tiles but in a random pattern unlike what is seen in Christian IV's buildings where they are generally systematically arranged. The facade is segmented by pilasters in the palladian giant order, that is they continue in the building's entire height. The pilasters are of the Tuscan order with bases and capitals in sandstone.
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The property is three-storeys, built of yellow brick and has full height pilasters at each corner with a dentilled cornice. There are four sash windows at each floor on The Avenue elevation and three on the Rockstone Place elevation. The ground floor windows are round-headed with arched recessed heads, and shell tympana decoration. The main door is at the centre of the Rockstone Place elevation; the stone doorcase has a shallow moulded cornice hood on brackets and pilasters over a round-headed keyed door opening.
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The former Winter Street Church stands just north of Bath's downtown area, facing Library Park at the northwest corner of Washington and Winter Streets. It is a single-story wood-frame structure, with a gabled roof topped by a multistage square tower. The main facade is divided into three bays, separated by pilasters that have Gothic arched panels, with those at the corners topped by pinnacles. The outer bays have entrances topped by Gothic arches and flanked by pilasters that rise to curved moulding over the arches.
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It is located on the south side of Great Road (Massachusetts Routes 2A and 119), which is now predominantly commercial. It is a two-story wood frame structure, five bays wide, with a hip roof, twin interior chimneys, clapboard siding, and a stone foundation. Prominent features include the wide Doric pilasters at the corners, and the centered entrance, which is flanked by pilasters and topped by a transom window and entablature. The interior retains high-quality original woodwork, in the broad central hall and the front rooms.
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The house is dated "1721" on the lead downpipe straps. It was extended and altered by Samuel Pountney Smith of Shrewsbury in 1857. It is a three-storey red brick building with red sandstone ashlar dressings, featuring some fluted pilasters and a Corinthian stone doorcase consisting of pilasters, each supporting a section of entablature. The rainwater heads are emblazoned with the Mackworth arms and crest, and an acanthus ornament at the junction of pipes and cornice, and straps have the initials "BM" and the date "1721".
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The Jonathan Warner House is located in a rural-suburban area of eastern Chester, at the northeast corner of East King's Highway and Middlesex Turnpike (Connecticut Route 154). It is a two-story wood-frame structure, five bays wide, with a side-gable roof, two interior chimneys, and clapboarded exterior. The central bay of the front is framed by two-story Ionic pillars supporting a small flat projecting roof. The main entrance is flanked by pilasters supporting an entablature, and sidelight windows outside the pilasters.
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A large stone Jacobethan fireplace with pilasters stands in the dining room; the sitting room has a small stone Jacobean-style fireplace. The staircase is in oak with twisted balusters, panelled newels and a panelled spandrel.
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The stone used to make the pilasters was reportedly intended by Christopher Wren to be used in the construction of St Paul's Cathedral. Sash windows with glazing bars and "moulded stone heads and surrounds" were added.
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The entrance is flanked by pilasters and topped by an entablature and fully pedimented gable. A single-story ell extends to the right side. The interior includes original wide board paneling. The house was built c.
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His left foot on a human body ( a slave? a woman?). On the other side stands a statue of St Ignatius of loyola. The upper section is divided with four pairs of pilasters and no statues.
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The facade is decorated with Corinthian pilasters. A cornice above small corbels crowns the top of the station building. The station had renovated in 2014. The station building partly has lost the exterior decor after that.
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The architrave also bears the Roman numerals for the year 1716 and above the double pilasters on either side are a sun (symbol of the Habsburg Empire) and a crescent moon (symbol of the Ottoman Empire).
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Notable is the façade, parted by thin pilasters and a medieval portal. It houses a sculpted baptismal font with octagonal plan, and figures of the Evangelists. Other notable buildings include the church of Sant'Ambrogio a Bazzano.
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Accessed 2009-11-09. Both buildings feature fine architecture: the church includes Gothic Revival elements such as ornate pilasters and lancet windows, while the former school is a good example of Federal architecture.Owen, Lorrie K., ed.
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Of the convent, which extended from the southern, nothing remains, although there exist elements associated with its construction including a small space with arches over pilasters and Doric columns, that were part of the convent structure.
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The gables are wooden with corner returns. There are sixteen double-hing windows with stone lintels and sills. The front door is framed by fluted pilasters and topped with a transom window. Doric columns surround the door.
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Its design features pilasters spanning the height of the building, terra cotta ornamentation, and decorative window surrounds on the first two floors. The building was added to the National Register of Historic Places on May 14, 1986.
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The exterior contains a variety of decorative elements, including a Palladian window, windows with molded caps, round-head dormers, and fluted columns and pilasters. A former carriage house, matching the main house in style, is sited nearby.
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The eastern and western facades are decorated with wall setbacks. The fronts are designed with pilasters, stucco, heraldic insertions, wreaths, cartouche and medallions. The building has complex configuration. The grand staircase is situated in its central part.
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Schickel also included some Neo-Grec architectural elements such as the largely uninterrupted facade, the decorated iron pilasters on the ground level, and the "gridlike" style formed by the vertical piers and the horizontal divisions between floors.
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The doors have three pilasters to either side; the first has a long diamond pattern with a rosette at center, the second has a relief of brickwork, and the third has the design of a simple column.
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A penthouse appears above the ninth story cornice. It is of a still lighter shade of brick and is finished with such refinements as pilasters, rusticated brickwork, quoins and swag ornaments; a balustrade caps the penthouse cornice.
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The brick building features extensive terra cotta ornamentation, including entrance and window surrounds, pilasters, and a molded cornice above the first floor. The building was added to the National Register of Historic Places on January 24, 2017.
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Classical pilasters support pediments. The same round-arch motif is repeated on two small copper-clad dormers. Double-hung, wood windows are found throughout the building. A parapet with balustrades tops the facade above a dentilled cornice.
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The edifice has an L-shaped footprint boasting Art Nouveau style, registered on the Kuyavian-Pomeranian Voivodeship Heritage List. Architectural details flourished on both facades of the building: pilasters, motifs, ornaments, festoons are everywhere to be seen.
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It features a classic pedimented gable temple front with a recessed entrance and pilasters. Note: This includes . It was listed on the National Register of Historic Places in 1973. It is located in the Madison Historic District.
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The bays are separated by brick pilasters. The building was erected c. 1928 as part of the city's first water supply system. For a period of about 15 years the building also served as the local jail.
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There are two symmetrically placed entrances on the front facade, each framed by pilasters and a corniced entablature. A triangular transom window is set in the gable above, and there are fixed-pane windows above the entrances.
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The mansion was built in Neoclassicist style. The main northern facade has a symmetrical composition. There is a six-column portico at the center of the Ionic order. The side facades are decorated with rows of pilasters.
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Only the plaster cornices at the base of the vaults and at the top of the main quadrangle, as well as pilasters between the windows on the north and south walls, have survived from the interior decoration.
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Vertical emphasis is given by the effect of pilasters defining the three bays of the first and second stories. A rectangular concrete plaque inscribed with the word “THEATRE” and the marquee/theatre entrance defines a central axis.
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It has windows topped by label mouldings, and some windows are topped by a Gothic pointed-arch. The corner boards have elaborately grooved pilasters. The house was listed on the National Register of Historic Places in 1989.
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The main walling is of squared and coursed [Devonian] limestone rubble, and the details at plinth, first-floor plattband and moulded cornice are in ashlar. [The pilasters are a bluish-grey limestone with a red limestone frieze, punctuated centrally above each window with a grey block. The wall panels between the pilasters are infilled with a deliberate mix of grey and red limestone. Further red bands are added at first floor level to the outer parts.] All windows are eighteen-pane sashes, now [mostly] with 19th-century glazing, in moulded ashlar surrounds.
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The corridor has pilasters and the same coffered ceiling of the main hall, and it used to have heavy velvet curtains at the window alcoves and entrance to the hallway; the windows had curtains of delicate salmon silk. The corridor originally displayed silk and velvet tapestries from various parts of the world. The first room from the corridor was the living room, with a wainscot, pilasters, cornice, and door and window frames all of Spanish cedar, and a mantelpiece imported from an Italian chateau. Walls are paneled in green silk, mirroring the rug and furnishings.
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The north-facing facade is five bays wide with the first story bays situated beneath semi-circular blind arches. A brick belt course divides the first and second floors, where six Ionic pilasters originate between each bay and extend to the rooftop cornices, and summit at small urns atop the balustrade. The front door has a fanlight and colored glass sidelights, which is covered by a single story Doric portico complemented by four fluted pillars and two pilasters. The eastern side entrance is located at the center bay of the main house.
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The Quimby House stands on the north side of North Road (also known as Cobbs Hill Road), in southern Mount Vernon, a rural community northwest of Augusta. The house is a 2-1/2 story wood frame structure, with a gabled roof, central chimney, clapboarded exterior, and a modern concrete foundation. The main facade faces south, and is five bays wide, with corner pilasters, and a central entrance with a Palladian window above. The entrance has flanking sidelights and pilasters, with a multilight half-oval transom window topped by a projecting cornice.
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The main entrance to the house is on the right, in a projecting single-story rectangular block that includes flanking Ionic columns and pilasters on either side of the recessed doorway. The building corners have paneled pilasters, which support a plain entablature that encircles the house below the roofline. The house was built in 1849 for Abner and Philander Coburn, unmarried brothers who were among the state's wealthiest citizens, controlling at one time more than of timberland in the state. Abner Coburn was reported in 1882 to have a net worth of $6–7 million.
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This time, he embedded the pilasters into the wall like bas-relief. Once more the bank sued, arguing the base of the pilasters did not extend the required from the wall, and again Scofield tore down the wall. The bank offered to allow Scofield to build a thinner wall, but Scofield said this would be a structural danger to his building. The written agreement the two sides had signed was in conflict in several places, and the parties turned to the local Court of Common Pleas to resolve their dispute.
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Architecturally, the home contains many classical elements characteristic of the federal period. Frontal Pilasters adorn the exterior, along with a broken pediment portico with well defined entablature. Interior embellishments, leading one to think McIntire, include triple-carved balusters, and an elliptical archway supported by fluted pilasters and topped with an “S” scroll keystone. However, further analysis by the SPNEA, coupled with Chelsea tile facings (1878-1907) and other Victorian elements on several of the upstairs chimney pieces, reveals a major renovation of the late 19th century presumably inspired by Junius Beebe and a knowledgeable architect.
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The Rocky Hill Congregational Church occupies a prominent position in the town center of Rocky Hill, on a triangular parcel bounded by Church, Old Main, and Center Streets. It is a two-story gable-roof wood frame structure resting on a brownstone foundation. It has distinctive late Georgian styling, with a projecting gabled entry section with corner pilasters, and three doorways. The central doorway is framed by engaged columns and topped by triangular modillioned pediment, while the flanking doorways are framed by pilasters and topped by an entablature and modillioned cornice.
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On the ground floor, two doors are witness to the alterations carried out in the 16th century: one, fully arched, is installed in a Tuscan bay with fluted pilasters; the other, rectangular, is endowed with a frame, probably altered, consisting of two short pilasters with composite capitals whose shafts are sculpted with scales and which carry an entablature divided into coffers. In one of the first floor rooms is a monumental chimney place whose lintel, decorated with an oval medallion surrounded with hides and rose windows, is supported by four fluted columns with Ionic capitals.
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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 floor level has a large, distinctive base, another classical art deco characteristic. In addition to the oversized windows of the floor level, the base was made more prominent through the use of the granite and stone carvings framing it. On higher levels, the fenestration became long vertical strips separated by large pilasters, which highlighted the verticality of the structure as opposed to its mass (another distinguishing feature of art deco buildings) (Morawetz 46). The pilasters of the upper levels have fluting and capitals of ionic composition and support a rather large entablature.
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The Conway County Courthouse is located at the corner of Moose and Church Streets in downtown Morrilton, Arkansas, the county seat of Conway County. It is a 2-1/2 story masonry building, built out of red brick with trim of white concrete and white terra cotta. Dominating the main facade are five slightly- recessed bays, articulated by four two-story engaged round columns, and flanked by square pilasters. The outer bays of the facade are each flanked by brick pilasters with cast terra cotta bases and capitals.
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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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The Greek Revival elements include large corner pilasters, projecting lintels over some of the windows, and the front door surround, which has pilasters and a cornice. The house was declared a National Historic Landmark in 1971, for its association with Bartlett. Josiah Bartlett (1729–1795) was born in Amesbury, Massachusetts, was trained as a physician, and established a practice in Kingston. He was politically opposed to British rule, serving as one of New Hampshire's representatives to the Continental Congress, and was likely the second signer of the United States Declaration of Independence after John Hancock.
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The enclosed verandah is surmounted by a parapet with a stylised frieze, and flanked by stylised pilasters at either end. The building has been extended to either side and at the rear corners, and the central roof section is higher than the flanking roof sections. The architectural detailing of the enclosed verandahs fronting Abbott Street is continued to both side elevations, with the parapet wrapping around to the rear of the building. The rear of the building has hipped roof sections forming deep eaves, with stylised corner pilasters projecting through to form corner parapets.
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The rear of the central section has a skillion roofed verandah, enclosed with multi-paned timber windows above sill height, either side of a central portico. The portico has a parapet with corner pilasters, and an entablature with a wide cornice formed by a projecting eave which aligns with the adjoining verandahs. The pilasters frame a rectangular opening which is flanked by small Tuscan columns. The main roof has bracketed eaves, and narrow leadlight windows are located above the verandah roof, lighting the interior of the Council Chamber behind.
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The western wing is limited by two towers/lookouts, three-stories high (four on the towers), rhythmically designed with rectangular vanes with frames of stonework and marked by a system of colossal pilasters at the corners. The pilasters are place on high entablatures and decorative pinnacles at the angles, marked by the church, divided into stonework sections. The lateral portico is implanted in the middle of the navem with a double stonework frame, Tuscan pillars with pyramidal pinnacles and semi-circular decoration. The annexes facades are covered in rectangular windows covered in grade.
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Honour Board, 1993 The finely crafted Honour Roll is housed at the northern end of a steel framed and timber pavilion with open sides. The Honour Roll is set on diagonal boarding, and has a central panel with a broken pediment on scrolled brackets, divided from side panels with pilasters. Carved into the broken pediment are the Australian Coat of Arms and the words: > Roll of Honour, 1914-1919, Queensland Railways Toowoomba Employees. The side panels are also framed by pilasters crowned with decorative motifs of the Queensland Railways emblem, scrolls and shells.
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The wall being sheltered is finished in flushboarding, and has two symmetrically placed entrances, each flanked by pilasters and topped by an entablature. The interior is a single large chamber with a curved ceiling, upon which trompe-l'œil artwork has been painted, in part depicting architectural features such as pilasters and arches, interspersed with elements of actual three-dimensional elements. The interior is virtually unchanged from the period of construction, its principal alterations being the addition of the painting, and the removal of wood stoves and related heating pipes. The church was built c.
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The Free Will Baptist Church stands in New Durham's rural Ridge area, on the north side of Ridge Road east of its junction with Berry Road. It is a single-story wood frame structure, with a gabled roof and clapboarded exterior. It features modest Greek Revival and Italianate detailing, including corner pilasters, and a single central door flanked by pilasters and topped by a simple entablature. The two-stage tower was added in 1869; its detailing, including a box cornice and Italianate brackets, echo details on the main block.
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The tower is a two-stage square structure, the lower stage with corner pilasters, and the upper (which houses the belfry) with paired pilasters matching those on the facade. Methodism first began to be preached in southwestern New Hampshire in 1793 by Jesse Lee, and developed a following sufficient to organize a congregation by 1795. The first Methodist circuit was known as the "Chesterfield circuit" since it was based here. This organization at first met in local homes, schools, and other church buildings, prior to the construction of this church.
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Construction of the church was spurred circa 1064 by Bishop Bernardo II. The simple façade built with travertine blocks has three naves, with a tympanum with a rose window. To the right, rises a bell-tower (1283) with a square base. The church has a basilica layout with the naves and aisles separated by sturdy pilasters, and includes spolia from the former Roman amphitheater of the first century BC, which had been located in the piazza in front of the church. Many of the nave pilasters are frescoed.
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The Old West Haven High School is located in a mainly residential area two blocks east of the West Haven town green, on the south side of Main Street east of Washington Avenue. It is a large two-story H-shaped structure, built with load-bearing masonry walls of brick and terra cotta. Its long main facade is broken up by projecting sections at the ends and in the center. The end pavilions have brick pilasters at the corners, and terra cotta pilasters flanking bands of sash windows.
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Main portal Four massive three-quarter columns accompanied by half-pilasters stand to either side of the main portal and support the architrave, the frieze with its triglyphs and the heavy cornices. On the architrave over segments of a round arch sit two large angels, supporting the arms of the Prince-Abbot Adalbert von Schleifras, sculpted by Balthasar Esterbauer, consisting of the arms of Fulda Abbey quartering those of von Schleifras. The portal door is ornamented with Corinthian pilasters and wrought iron door fittings. The upper storey of the facade is divided by massive pillars.
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The fairly low wall around the piazza is articulated by panels with paired obelisks with stelae positioned between them. The church facade has paired fluted pilasters towards its edges to infer a temple front. The vertical linearity of the fluted pilasters act as a foil to enhance the more decorative reliefs of the facade. The reliefs on this facade, the entrance gate and the panels and stellae in the piazza include emblems and other references to the military and naval associations of the Knights of Malta and the Rezzonico family heraldry.
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The second-story fenestration is simpler, with rectangular windows and terra-cotta sills. Above the portico, the third-story windows are each framed with low-relief pilasters with stylized motifs and a terra-cotta- tiled stringcourse. The attic windows are capped by an additional tiled cornice and painted wood panels below a bracketed eave to the low-hipped roof clad with terra-cotta tiles. Framing the portico are two square, five-story Spanish towers that are simply treated at the lower stories, with curved corners and colossal low-relief pilasters.
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These wings encircle the courtyard. Tessin's plans and commissions to artists still characterizes the facades, walls and stone pilasters as well as walls, floors, pillars and pilasters inside the palace, such as in the Hall of State, the Royal Chapel and the stairwells. The building of the palace went on with great intensity during the reign of Charles XII, but the costly campaigns during the Great Northern War were impedimental. Charles XII lost at the Battle of Poltava in 1709, and that year the building of the palace came to a complete halt.
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The Hydraulic Pump Station is a three-storey Italianate/Baroque facade with rich decorative plaster/stucco elements. It features detailing includes matching pairs of pedimented dummy windows with square Corinthian pilasters flanking a central arched window on each storey, also with Corinthian pilasters plus stucco moulding and keystone. The arched windows are repeated on the second storey sides, below a circular vent, also with stucco moulding. The ground storey features stucco quoins which extend on the eastern side to simulate ashlar masonry on the facade on an extension which also features ornate Italianate plasterwork.
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Above this solid and severe facade that Lawson chose instead of the customary two or three floors, the massive blocks of stone support just one floor. This upper floor is not an obvious piano nobile, but appears, though of more delicate and simple design, to be of equal value to the floor below. The rusticated pilasters of the lower floor are continued above, but become smooth dressed stone to match the upper facade. The pilasters' capitals are Corinthian, and as at the Bank of New South Wales they support an undecorated entablature.
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Watts' design shows a portico with two pairs of Roman Doric columns and a plain frieze and fillet. As eventually constructed, Greenway elaborated the portico to include two sets of pillars with corresponding pilasters against the wall, and added a simplified Doric frieze with triglyphs and mutules. It is not known if the enlargement to the front door is contemporary with the addition of the portico, or if it was altered at a later date. The two elements appear to have been designed separately as the pilasters overlap the door.
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The house is a two- story rectangle with a central portico dominating the facade. Square wooden pillars support each story of the portico, while pilasters in a similar style are placed at the portico's junctions with the main body of the house. As a second-story door provides access to the second story of the portico, the space between pillars and pilasters is filled with an unadorned balustrade. Multi-pane transom lights are placed above both the main entrance and the second-story door to the portico, in addition to sidelights around the main entrance.
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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 rectangular annex consists of entrance on the main floor, with block windows and upper-level windows align asymmetrically from the door (one on the left, and two to the right on both levels). Directly above this doorway is a bell-tower niche, surmounted by a cross. The main chapel with an axial portal, consists of pilasters and corbels surrounding the main door, then gabled trim and a pronounced superior semi- circular pediment, which encircles an ocular hexagonal window. This Baroque era landmark, is marked by plain pilasters, wedges, and cyma line with angular pinnacles.
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As was common with late 18th century Bath houses, the mansard roof with dormer windows was dispensed with, the facade instead stretching all the way up to the top of the houses, with a parapet above the attic windows. The two end houses were to have four Ionic pilasters on the main facade. The five central bays of the terrace were to have matching pilasters and a pediment in place of the attic windows. Nelson Place was to have a matching facade, but with a slightly longer terrace containing twenty-three houses.
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The First Callahan Building is located on the east side of Lisbon Street in Lewiston's principal downtown commercial district. It is located adjacent to the Second Callahan Block (at number 282), and across from the Lower Lisbon Street Historic District, which encompasses Lewiston's earliest commercial development. It is a four-story red brick with a flat roof that has an extended bracketed cornice above a brickwork entablature. The main facade, facing Lisbon Street, is nine bays wide, divided into three groups by metal pilasters at the first floor level, and brick pilasters above.
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This is the scar remaining from a large cornice, either made of pressed tin or Terra cotta, that was removed from the building after a 1913 fire, harming its architectural integrity greatly. The pilasters continue through the parapet and the central pilasters and recessed within a brick equilateral arch is a Terra cotta wheel window design flanked at the base by Terra cotta fillets filling out the base of the arch. The interior once featured a central courtyard that spanned the top three floors. It was lighted by a set of three large skylights.
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Additional horizontal lines derive from the original three bands of windows (particularly prior to more recent window alterations). These consistent horizontal lines are dramatically emphasized by the strong counterpoint of the six vertical piers. Yet even these vertical pilasters have horizontal elements in their capitals, consisting of three horizontal bands of projecting brick string courses (which echo the triple corbelling above) and the contrasting capitals of cast stone on top. Across the set of six vertical piers or pilasters along the auditorium, these elements create additional horizontal lines.
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It was Dufourny's great friend and fellow architect Giuseppe Marvuglia who was to preside over the gradual decline of Sicilian Baroque. In 1784 he designed the Palazzo Belmonte Riso (Illustration 21), a good example of the period of architectural transition, combining both Baroque and neoclassical motifs, built around an arcaded courtyard providing Baroque masses of light and shade, or chiaroscuro. The main façade, punctuated by giant pilasters, also had Baroque features, but the skyline was unbroken. The pilasters were undecorated, simple, and Ionic, and supported an undecorated entablature.
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The first and second floor windows contain unusually patterned geometric lights. Pilasters rise from the sill of the first floor windows to the lintels of the second floor windows, with tapestry-like terra cotta panels on the pilasters between the second: floor windows. A stone band divides the second floor from the large parapet wall with a stone coping. On the inside walls of each wing are three basement-story windows and two first and second floor windows with the same mullion patterns found on the recessed front facade windows.
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The square planned columns are paired flanking the central Richmond Street bay. The pilasters support a detailed entablature with a projecting cornice with stylised Corinthian order detailing, including dentil mouldings and modillions (or small scrolled bracket giving the impression of supporting another projecting moulded band of the cornice). Surmounting the cornice of the building is an Italianate parapet, formed by a balustrade of elongated urns separated with panels aligned with the pilasters on the face of the building. On the parapet over the two central bays are flat rendered brick panels.
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The portico is marked by two sculpted pilasters, comprising a large arch, surmounted by a slim canopy, containing two minor arches of the same profile. Rising from a simple base, but multifaceted barrel, the pilasters are tri-faceted, with by middle-relief decoration and statuary. In the internal faces, include six kneeling cherubs facing the doorways. Meanwhile, in the exterior facetes there are various decorative elements, that include urns, fantastical animals, heads of angels, badges, cornucopias, medallions and other stylized vegetal elements, dominated by two niches on either side.
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Paired pilasters are set at the building corners, rising to a fully pedimented triangular pediment. The side walls are divided into two bays, articulated by pilasters, with sash windows topped by lancet-arched louvers. The church was built in 1843, by a Congregationalist church congregation whose roots dated to 1753. The church was built in response to a controversy over ownership of the old meetinghouse, which was built prior to the principles of separation of church and state, and had been used for both civic and religious functions.
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The church is set on the east side of Maine 176, on a rise a short way south of the rural village of West Brooksville in northwestern Brooksville. It is a single-story wood frame structure with well-preserved exterior and interior Greek Revival elements. The main facade, which faces west, has symmetrically-placed entrances, each flanked by pilasters and topped by a transom window and entablature. The entrances are separated by taller pilasters, which are also found at the corners, supporting an entablature and a full triangular pediment.
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The Moose River Congregational Church is set at the northeast corner of Heald Stream Road and US 201 near the northern end of Jackman village. It is a basically rectangular single-story wood-frame structure, with a metal gable roof and a projecting tower and vestibule section at the south-facing front. The front is symmetrically arranged with paneled corner pilasters and narrow pointed-arch windows flanking the projecting section. The entry also has corner pilasters, and a gable-roof pediment matching the main roof line in details.
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The Northbank Center is a twelve-story, L-shaped, Renaissance Revival building measuring 99 feet by 150 feet, and located on a corner lot. On the main facade, the first three floors form a base, divided into three major bays by paired and fluted pilasters with Corinthian capitals. The pilasters are limestone, with the interior of the bays formed by rusticated granite and multi-pane windows. The base is capped with a limestone architrave, frieze, and cornice with the founding dates and the words "Industrial Savings Bank Building" in the entablature.
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Area with the image of the Virgin of Solitude The facade of the 18th-century building is Neoclassic, covered in slabs of gray sandstone, with the pilasters of the same material. It divides into five sections with a main portal that has two levels and a crest. The ornamentation of the portal includes symbols of the Passion and figures of John the Baptist, Mary Magdalene and others. At the center of the second level is an image of the Virgen de la Soledad framed by pairs of Ionic pilasters.
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Four years later saw another renovation with the addition of glazed brick and fluted Terra Cotta pilasters. This gave the building an Art Moderne appearance. The building was listed on the National Register of Historic Places in 2015.
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The Anderson are represented as a pair of busts surrounded by marble pilasters surmounted by a segmental pediment. The church also contains memorials of the Hides and Harcourts, families who left charities to the poor of the parish.
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A boxed cornice marks the roofline. The windows have brick lintels and thin stone sills. The main entrance has a wood surround with two plain pilasters. A limestone cornerstone with "Hawthorne" on it is in the southwest corner.
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Within the entablatures is a frieze ornamented with scrollwork. The caps of the entablatures support a painted plaster arch. The pilasters and an arch frame a niche. The ornamental trabeated ceiling is an important feature of the room.
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It is in the shape of a shallow "W." It features an entrance pavilions with arched openings, pilasters, and a brick parapet. Note: This includes The building was added to the National Register of Historic Places in 1988.
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The upper section of two floors contains half-round engaged columns along the front facade, modified into pilasters on the sides. Across the top is a classic cornice with small pediments at each end of the front facade.
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These six columns dominating the south and west facades were, in turn, flanked by a pair of pilasters on both fronts. The fifth floor was slightly indented and also topped by an entablature crowned by strip of anthemion.
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The pedestal stands on four octagonal steps. It is square with four angular fluted pilasters. On each side are inscribed panels; the inscriptions are weathered and illegible. Above the panels is a cornice with egg and dart moulding.
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The main entrance at the southern facade serves as an access to the church. It has two concave walls with two late-Baroque rounded windows lined with pilasters ending in a baluster entablature with a densely profiled molding.
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Its entry is the most elaborate part of the main facade, flanked by paired pilasters and sheltered by a barrel-vaulted portico with triangular pediment. The house was listed on the National Register of Historic Places in 1980.
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Inside, the bay divisions are marked by fluted Corinthian pilasters. A west gallery with a panelled front containing the organ is supported by Tuscan columns. The shallow vaulted ceiling has an elaborate frieze terminating in shallow segmental coving.
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The facade is symmetrical, and five bays wide. The entrance is through a centrally placed door, flanked with paneled pilasters and topped with an entablature. The house is topped with a wide frieze and a cornice with returns.
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The brick façade with flanking white stone pilasters dates from the second half of the 18th century. The interior houses a painted wooden crucifix from the 16th century and a number of altarpieces.Province of Macerata, entry on the church.
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The facade is finished with a wing gable with vases, pilasters and niches. The side facades have lysine frames and semicircular windows. The presbytery and the sacristy have a barrel vault with lunettes. The ship has a flat ceiling.
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The main house is "L" shaped. The west front is Elizabethan and has five bays as does the north front. Each is surmounted by hipped and crenellated roofs. The west front includes a door with paired Roman Doric pilasters.
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Above this are five strip pilasters that rise to the top of the tower. The parapet is embattled. On the south side of the tower is a door to a projecting stair turret which ends at the second stage.
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The house is five bays wide, with a hip roof and clapboard siding, and a central entrance flanked by pilasters and topped by a paneled entablature. The house was listed on the National Register of Historic Places in 1986.
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Despite the additions of 1900, and despite the sandblasting that has been applied to the walls, components such as the Doric columns and pilasters on the portico make it an exceptional piece of the Greek Revival style of architecture.
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Pilasters with Corinthian capitals and foliage motifs border the role, joined at the top by a dentil cornice. Above the cornice is a triangular pediment, within which are crossed rifles over a football and a crown at its apex.
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In the side facade of the nave there is a big window closed by an overhung semi-circular arch with broad frames and keystones. The façade of the presbytery part is embraced by pilasters with windows in two climes.
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A stuccoed brick church of simple Victorian Georgian design. The arched window openings and pilasters are marked by projecting render work and quoins represent ashlar work. The main roof and that over the porch are of simple pitched form.
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Later granite centre entrance. Very rich interior, with 4 Corinthian columns in hall with rich capitals, and pilasters. Ceiling in coffered panels with egg and dart mouldings, and richly ornamented centre and side panels; very rich frieze and cornice.
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The front façade is rendered with a decorative parapet with finials, columns and pilasters. In the 1930s the premises was used as a betting shop. Later it was a barber's shop before returning to use as a billiard room.
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The entry is framed by Federal style fluted pilasters and topped by a heavy pediment; there is a five-light transom window above the door. On October 7, 1983, it was added to the National Register of Historic Places.
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The octagonal dome is supported by pilasters and four columns built in Hyberian marble. The high altar is in polychrome marbles, surmounted by a panel depicting the Creation, with stars, the sun and the moon on a blue background.
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Brick Tuscan pilasters flank the doors. The windows are set in groupings of three double hung multi-light sash-type units, separated by wooden mullions. An iron cornice circles the building save for the center of the front facade.
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The limestone front of the three-storey building has five bays. The central doorway has doric pilasters supporting a segmental pediment. The of grounds include mature trees and herbaceaous borders. There is also a vegetable garden and fruit trees.
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The main entrance is flanked by sidelight windows and fluted pilasters, supporting an entablature with high capitals, but is somewhat obscured by the 19th century porch. The house was listed on the National Register of Historic Places in 1984.
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1835), is constructed with pegged post- and-beam framing, and shows what may be its original clapboard siding. It and the Charles Howell House (c.1825) are constructed on granite ashlar foundations. The latter's doorway is flanked by fluted pilasters.
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All the windows have at least one louvered shutter. Many still have the original shutter hooks. The corners have pilasters as well; on the southwest is a small satellite dish. The south wing has a full- length porch across the front.
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Another chimney rises from its south end. Its roof is clad in metal. Another pair of fluted pilasters flanks the main doorway, which is topped by a large fanlight. It opens onto a center hall running the length of the house.
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The building consists of three storeys over a cellar and is seven bays wide. The five central bays are slightly recessed. Four ionic order pilasters flank the three central bays. A side wing extends from the rear side of the building.
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The main entrance projects slightly in a surround that includes sidelight windows, pilasters, and a corniced entablature. The interior has a typical central stair plan, and retains most of its original woodwork, which is in a heavy late Georgian style.
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The building's footprint is a 51 x 31 foot rectangle. The walls are built of cream brick hauled from Milwaukee by oxen. Brick pilasters divide the walls into panels which frame tall windows. The gable ends are framed into pediments.
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The galleries will have 21 bays open to the courtyard through window arches. Each bay is separated from the next by Tuscan capital pilasters. The ceilings are rounded. In the centre of each, there is a small carved rockwork motif.
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The principle facade, characterized by its nobile sobriety, is composed of an exedra and doric pilasters. In the northern wing there is a chapel, and In the southern wing there is a tower, built upon the remains of its medieval predecessor.
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A room was formed on the second level behind the circular stairwell. The stairwell includes a small, decorative niche. Each room includes a fireplace that extends into the room approximately three feet. Mantels are supported by pilasters of varying design.
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It is architecturally noted for its elaborate entrance section, with full-height brick pilasters at the corners, and a round-arch opening flanked by narrow round-arch windows. The building was added to the National Register of Historic Places in 1982.
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A three-panel window decorates the area above the door. The door is a modern six-panel wood door. A simple cornice adorns the soffits on the north and south eaves. Simple pilasters are found at the main building's corners.
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The two-storey brick building has a slate roof. The symmetrical facade has three-bays with pilasters on either side of the entrance. The portico has ionic columns. Inside the building several of the rooms plaster friezes and marble fireplaces.
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The south-facing main facade is five bays wide, articulated by brick pilasters. The entrance is on center, accessing three rooms on the first floor and a large open space on the second. The interior has well-preserved Greek Revival woodwork.
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It had an open hall and sanctuary, now in ruins. The sculptural decoration included flowers, garlands, torana, animals, birds and deities. It was especially elaborate in the upper portion of the walls. The temple walls are also decorated with thin pilasters.
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The eastern facade is clapboarded, with pilasters separating the bays. A pair of ells extend the main block to the west. The house was built c. 1828-30 by John Nehemiah Marks Brewer, a prominent local shipbuilder and ship's captain.
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The tower is topped with a low conical roof and lantern. There are two street level entrances. A formal entrance has a suspended canopy with double doors and a transom arch on pilasters. A second entrance is further down the street.
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The ends of the gables have fine decorative motifs, with a miniature model of a square at the centre. The niches seen are carved with regular spacing and are supported on two pilasters. Nasikas are mentioned in inscriptions inside the temple.
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The doors and windows on the ground and two floors, decorated with columns and pilasters, are typical of the Renaissance. The lower room with its vault of sixteen ribs and a double ogive cross, with liernes and tiercerons, is remarkable.
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Part of the temple was rebuilt in Gothic style. The bell tower was rebuilt in Lombard style, with three floors and a gabled roof. Square in plan, it is decorated with Lombardy arches and pilasters. There is a Gothic apse.
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The front of the building features four bays separated by five Ionic pilasters, an asymmetrical pedimented entrance, and a stepped parapet atop the entrance bay. The library was added to the National Register of Historic Places on February 16, 1994.
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The entrance is flanked on one side by a sidelight window, and both sides by pilasters, which rise to an entablature and pedimented gable. Modern wings extend to the rear of this building, giving the building a rough W shape.
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After his death, the construction was continued by Mattia De Rossi. The late Renaissance-style façade, with two orders divided by pilasters, was completed in 1826, thanks to funds provided the Testament of Cardinal Ercole Consalvi.Forcella, p. 238 no. 608.
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The Second Boer War broke out in 1899 and work was delayed until October 1900. The present clubhouse was finally completed and occupied in January 1904. The new clubhouse is of Edwardian, free Renaissance style with capitals, arches, pilasters and mouldings.
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Hompesch Gate is built in the neoclassical style. It consists of a single arched opening, flanked by two pairs of Doric pilasters. The arch is topped by a triangular pediment, below which lies a depiction of Our Lady of Graces.
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It was done in a style described as "modified Italian style", with a coffered ceiling in white and gold, supported by ionic pillars. The panelled walls were done in Spanish mahogany, inlaid with ivory and richly carved with pilasters and decorations.
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The curving porch extends around the house to the west, echoing the house's corner lot placement. The east side features an extensively decorated hooded window. The porch columns are linked by turned balusters. Corners are marked with two-story Ionic pilasters.
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Axel Magnus Fahlcrantz designed the pulpit in Empire style. It is also adorned with Fahlcrantz's sculpture. Harri Blomberg photo The interior shows elements of various styles, mainly classical and Empire style. The ionic pilasters on the cattle wall are classical.
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It is 2½ stories in height, five bays in width, and has narrow clapboard siding. The main entrance is flanked by pilasters and topped by a shallow hood. The house was listed on the National Register of Historic Places in 1986.
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The central structure of the west facade is advanced about two feet from its two wings, and features Ionic columns and pilasters, as well as a larger attic, giving the structure more prominence. The Carnegie building has 31,200 square feet.
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The George W. Chamberlain House at 418 Main Street (built about the same time) is more strongly Italianate, with a projecting gable roof that has paired brackets and a crowning belvedere. Greek Revival elements include flushboard siding and corner pilasters.
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The house features a balconied entrance portico with Corinthian order columns and corner pilasters. Note: This includes and Accompanying photographs. It was listed on the National Register of Historic Places in 1984. It is located in the Eastern Enlargement Historic District.
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Four crosses, made of wrought iron, are decorating now the pilasters. The cathedral has gates both on the Southern and the northern side. They are situated in the central axis of the side façades. The cathedral has altogether 3 entrances.
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The home is considered more representative of New England architecture than other contemporary Georgetown homes. The house has many architectural details including "a wide limestone stairway", "pink- painted lintels with keystones", "brick voussoirs", "Doric pilasters", and a "semi-elliptical fanlight".
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It rests on a c. 1945 concrete foundation, faced in granite. It has sash windows framed by plain surrounds with drip molding. The main entrance is flanked by pilasters and topped by a half-round transom and pediment with gable.
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Greek Revival elements include gable end returns, a full entablature, and corner pilasters with molded capitals. Gothic Revival elements include lancet arch windows and doors. In 1988 the church was very well-preserved. with two photos and a map With .
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Eventually, the building became solely a place for trading in commodities. During the 18th century, the façade of the Huis ter Beurze was rebuilt with a wide frontage of pilasters. However, in 1947 it was restored to its original medieval appearance.
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The parapet has plain pilasters and square pinnacles. Inside the tower are memorials. Pevsner considers that the best is a tablet by John Flaxman in memory of Rev. Kelsall Prescot, who died in 1823, showing him standing and instructing boys.
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The asymmetrical building is constructed of brick-covered plaster. The entrance is on the right side, decorated with columns and a portico, while the left part is made of pilasters. The building is included in the register of monuments of architecture.
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The main entrance, placed near the center of the facade, is trabeated, and sidelights are placed on both sides of the doorway,, Ohio Historical Society, 2007. Accessed 2014-02-20. along with high-style pilasters, an entablature, and a frieze.Recchie, Nancy. '.
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Most of its distinctive Greek Revival features, including corner pilasters and a larger- than-typical frieze, have been lost due to recent residing of the exterior (see photo). The house was listed on the National Register of Historic Places in 1984.
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The generally rectangular structure is faced with brick laid in a common bond. A small porch extends from the center of the main facade. It features projecting pilasters that frame a doorway that has been narrowed. The window sills are stone.
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The tower is square at the base, then becomes octagonal, with pairs of pilasters, and has a round cap at the top. The portico is supported by two large columns. Along the sides of the church are tall round-headed windows.
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The entire exterior of the building is clad in terra cotta, and its decorative elements include pilasters, ornate metal entrance surrounds, and a bracketed entablature. The building was added to the National Register of Historic Places on September 13, 2018.
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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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The church was constructed using local tuff, with three naves ending in a semicircular apse. The façade has four pilasters with Corinthian capitals likely used in an older building. The portal is simple. The walls are pierced with monofore windows.
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It features an arched entryway with terra cotta trim and pilasters, a terra cotta cornice, and brick parapet. Note: This includes The school is named for Francis Hopkinson. The building was added to the National Register of Historic Places in 1988.
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Its walls are rendered with rusticated quoins. The house is in two storeys with an attic. At the front is a Tuscan portico with two columns at the front and pilasters at the rear. Most of the windows are sashes.
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The Reading Room is located on the first floor adjacent to the lobby. It has several large arched windows overlooking the streets, flat pilasters along the walls and a high, flat gilded ceiling with a large fresco at the center.
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The South- Western façade, looking at the Archbishop Palace, dates from the 14th to 15th centuries. The sarcophagus of Emperor Frederick II of Hohenstaufen. The interior has a Latin cross plan, with a nave and two aisles divided by pilasters.
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Constructed from load-bearing face brick walls, it has rendered decorative elements to the first and second floors, and a rendered base that forms the undercroft level. The red-brown brick walls of the first and second floors are laid in a stretcher bond, and are relieved with pilasters - rendered on the front elevation and English-bonded, brown face brick on the northern elevation. The pilasters have simple, rendered capitals. Along the front elevation, tiled window hoods with decorative timber brackets shelter the first storey windows; and two face brick projections protrude from the eastern and western ends of the range.
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The central feature of the interior is a three-story, marble-floored rotunda, encircled on the upper levels by balustraded galleries. An inner saucer dome of vaulted brick covers the rotunda and terminates in an oculus through which a large metal chandelier is suspended from the outer dome. Contrasting with the severe white walls of the space are exposed brick structural members: pilasters and segmentally-arched brick vaulting supporting the galleries. Between two of the brick pilasters is a large marble plaque commemorating the efforts of Secretary of War Root in the establishment of the AWC.
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The Baxter House is set prominently facing northeast at the southwest corner of Main Street and East Bay Road in the Osterville section of Barnstable. It is a large two story wood frame structure, seven bays wide, with a stepped hip roof, clapboard siding, and corner quoining. Its dominant feature is a monumental entrance portico, which rises to form a rounded and dentillated arch at the roof line. The portico is defined by two-story pilasters, with the entry on the first floor also flanked by single-story pilasters and topped by a round-arch pediment.
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Towards the east end of each side extends a shallow pedimented transept. In the lower level stands a door with Doric pilasters in a corniced surround, flanked by small windows. The upper level of the transept is pierced by an arcade of three round-arched windows, flanked by half-fluted Corinthian pilasters and supported by Corinthian column mullions. West of the transept on the north side, steps descend to a round-arched doorway in the basement level of the church: this is the Nisbet of Dean burial vault, constructed in 1692 and retained during the construction of the current church and its predecessor.
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The Wentworth House is located on the west side of Wentworth Street (Maine State Route 103) in the village of Kittery Foreside, shortly after the road makes a sharp turn to the north. It is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof, single off-center chimney, clapboard siding, and a brick foundation. The building corners are pilasters, and the eave has a wide frieze board with paired decorative brackets. The main facade, facing east, is symmetrical, with the center entrance flanked by sidelight windows and narrow pilasters.
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A surviving letter of 1470 from the patron, Ludovico III Gonzaga, Marquis of Mantua, to the on-site architect agreeing with Alberti's proposal to reduce the number of pilasters on the porticoWittkower's reconstruction of Alberti's original intentions (Wittkower 1965 p 52 fig. 7) features the order of six pilasters dividing the façade into the five bays still represented by the doors. illuminates Alberti's plan of 1460. The two outer staircases were added in the twentieth century; prior to 1925 old photographs show the entrance was a single stair to the quattrocento loggia appended to Alberti's design.
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The ground story was initially designed as a raised basement, with each bay separated by cast-iron rusticated vertical piers. The Ann Street facade is still designed in this way, but the Fulton and Nassau Street sides are recessed behind storefronts. The Bennett Building's facade above the ground floor consists of bays separated by paneled pilasters; projecting cornices with moldings above each floor; arched door and window openings; and scrolled corbels flanking the window openings. Large projecting pilasters flank the corner bays, the original entrance bays on Fulton and Ann Street, and the easternmost two bays on Fulton and Ann Streets.
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Lettering over the main entrance doorway identifies the building as "Pine Shire Council Pumping Station" and a plaque commemorating the turning of the sod ceremony is fixed between the main and roller door entrances. A bank of narrow louvres sits over the roller door. The long elevations contain five bays defined by plain projecting pilasters with a six-light frosted wire-glass steel framed window to the middle of each bay. The river elevation is divided into three bays by projecting pilasters with the end bays accommodating sets of windows matching those found on the long elevations.
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The Old Corner Church is located on a rise overlooking the southwest corner of West and Federal Streets, west of the main village of the town of Waterboro. It is a rectangular wood frame structure, about in size, with a front-facing gable roof, clapboard siding, and a granite foundation obscured by a wooden water table. Its Greek Revival features include corner pilasters rising to a broad entablature, and a fully pedimented gable. The main facade faces east, and is symmetrically arranged, with a pair of entrances, each flanked by pilasters and topped by an entablature.
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The New Hampton Community Church stands in the village center of New Hampton, on the south side of Main Street near its junction with Shingle Camp Hill Road. It is a single-story wood frame structure, with a gabled roof and clapboarded exterior. It is an elaborately styled example of Greek Revival architecture, with paneled pilasters at the corners rising to a full entablature, and a fully pedimented gable fronted by a projecting gabled entry pavilion. The pavilion also has paneled pilasters, entablature, and pedimented gable, with the entry recessed in a flushboarded opening with two Doric columns set in antis.
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Each of these sections comprises three bays with the central one being narrower than the other two. Originally, on the lower level, the central bays had the broad arched doorway to each tenancy which were flanked by a pair of arched windows to each side, but the windows on the southern section of the facade have since been opened up to ground level. This early portion of the facade is ordered by unfluted Corinthian pilasters rising from a plinth at sill level to a plain string course. The upper two floors are linked by fluted giant order composite pilasters.
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The central entrance is flanked by pilasters, which have fluting to the lower section of the shaft, supporting a triangular pediment surmounted by a moulded ornament at the apex. The pediment and cornice have egg and dart mouldings, the architrave has dentils, and the pilasters surmount tall pedestals, which flank entrance steps with low wrought iron gates. The arches have expressed imposts, extrados and keystones, and are surmounted by a frieze with moulded swags. The paired arches either side of the entrance have a central granite column with an Ionic capital, surmounting a tall pedestal flanked by a moulded balustrade.
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The facades are asymmetrical, and are divided by pilasters and by a horizontal moulded string course between the levels. In each bay are sets of windows, mostly double hung but some louvres and fixed lights to the curved bay at the corner, all with external moulded architraves. The simple squared parapet has a moulded and bracketed cornice above the windows, and a higher decorative parapet with "Bank of NSW" in relief above the main Flinders Street entrance. This entrance is emphasised by moulded pilasters to either side, decorative plasterwork and a segmented arch over the doorway.
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Murphys Grammar School is a historic school building in Murphys, California. Built in 1860, the school was the first public school in Murphys. The school was designed in a vernacular Greek Revival style, which was popular at the time of its construction; its design includes a cornice held up by square pilasters, a pedimented gable, and a cupola over the entrance with its own cornice and square pilasters. The school operated continuously from its opening until it closed in 1973; at the time of its closing, it was the longest continuously running school west of the Mississippi River.
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Beyond this is a single-storey timber extension of backstage areas. The central bay to the street facade emphasises the entry with columns and pilasters of Tuscan order, and a segmental pediment with a shield motif at its centre. The upper level of this bay has similar columns and pilasters and a bracketed triangular pediment, with "1888" carved to its centre and "TOWN HALL" to its entablature. To either side at the lower level is a colonnade of segmental arches, and to the upper level is a recessed verandah of semicircular arches with cast iron balustrades and timber handrails.
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The entrance has double timber panelled doors with fanlight surrounded by a sandstone moulding and keystone. A deep string course crosses above the entrance between the pilasters at eave height, with a metal coat of arms positioned centrally above. The clock tower is square in plan with a clock face, surrounded by sandstone mouldings and framed by pilasters with a deep cornice above, to each side and a convex hipped sheet metal roof. The lower wings either side of the tower have parapet walls and continue the eave height string course and top ledge of the sandstone base.
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The Morris House stands overlooking the Connecticut River in eastern Springfield, its informally landscaped lot separated from the river bank by Old Connecticut River Road, historically the main route along the river's west bank (since replaced by United States Route 5, which passes west of the farm property). The main house is a two-story wood frame structure, with a hip roof and clapboarded exterior. The east-facing front facade is five bays across, with a center entrance flanked by pilasters and topped by a half-round transom window and gabled pediment. The building corners have narrow pilasters, rising to a dentillated cornice.
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The D.V.Adams Co.-Bussell and Weston Building is located on the west side of Water Street, Augusta's principal business thoroughfare, on the block south of Bridge Street. It is a three-story brick structure, with a flat roof adorned by an ornate projecting cornice. It is five bays wide, with the bays articulated by pilasters, and the first-floor display windows separated from the upper floors by a stylized entablature. The central bay is wider than the others, housing the recessed building entrance on the ground floor, and three-part windows on the upper floors with slender pilasters dividing the sections.
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The Bryant Double House is located in a densely built residential area north of downtown Bangor, standing on the north side of Division Street midway between Kenduskeag Avenue and Prentiss Street. It is a 1-1/2 story wood frame structure, with a front-facing gabled roof and clapboard siding. The building corners have fluted pilasters, with entablatures running down the sides. A single-story hip-roof porch-and-vestibule section projects from the front, with an open porch area at the center, with side-facing entrances to vestibules whose fronts are defined by fluted pilasters topped by an entablature with garlands.
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The nine-bay three-storey east front is mostly Elizabethan in style and has Wyatt's single-storey extension protruding from its centre. The courtyard was remodelled by Leoni, who gave it a rusticated cloister on all sides. Above the cloister the architecture differs on the four sides although all the windows on the first (piano nobile) floor have pediments. On the west side is a one-bay centrepiece with a window between two Doric pilasters; on the south and north are three windows with four similar pilasters; and on the east front is the grand entrance with a portal in a Tuscan aedicule.
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Raphael would no doubt have been the architect if he had lived longer, and may have made plans for it before his death. The building repeats many features of the Villa Madama, which was further advanced by Raphael's death, and also taken over by Giulio Romano.Hall, 160 Romano made the whole building suggest lightness and elegance to exploit the ridge-top position and overcome the rather small Roman footprint. The orders are delicate, with Tuscan or Doric columns and pilasters in pairs on the main floor, and extremely shallow Ionic pilasters above, whose presence is mainly conveyed by a different colour.
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Pilasters rise between and outside the first floor bays to a stone course in which the words "Merchants and Farmers Bank" are incised. The five floors above have paired sash windows in each bay; the bays of the upper two floors are articulated by paneled pilasters. There are two balustraded concrete balconies projecting from the center bays of the third and fifth floors. The North Carolina Mutual Life Insurance Company was founded in 1898 by a group of seven African-American men, of whom two, John Merrick and Dr. Aaron Moore, survived in the business after one year.
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Globe Tobacco Building from the state of Michigan Large arched windows are located on the first floor in the other bays. Pilasters run between the first story and the fourth, starting win a limestone block base and ending in forms that continue into round-arched windows on the fifth story. Brick denticulation separates the sixth floor from the lower ones, and the sixth floor is not divided into bays, but rather has evenly spaced rectangular window openings separated by pilasters. Square brick panelling is stepped out above the sixth floor, providing a bearing surface for the heavy roof timbers and protection from fire.
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The principal facade consists of a single storey nave with massive pediment, surmounted by stone cross, completed in stone masonry, with the corners in natural stone, while the remainder whitewashed. A two-door rectangular portico is flanked by square pilasters and surmounted by cornice and lintel. The square-pilasters extend vertically into the pediment, and are topped by ornate relief, while on either side of the pediment are vegetal elements. Apart from the main doorway, the facade is broken by three large rectangular windows (two on either side of, and one over, the doorway), in addition to two oculae over the lateral windows.
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No. 18: The Bachmann House A number of architectural styles are represented in spite of Gammeltorv's small size and harmonic character. No. 14, 16 and 18 on the square's north side and No. 20 and No. 22 on its west side all date from the years 1795-1801 but none of the architects are known. The more monumental of the three houses is the Bachmann House at No. 18. The facade is decorated with Ionic order pilasters and is tipped by a triangular pediment. The Suhr House at No. 22 is also decorated with Ionic order pilasters.
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The church consists of two juxtapositioned rectangular spaces, comprising a single nave and presbytery, with sacristy abutting, storage spaces, lateral courts and corridor. The horizontal articulated volumes and differently covered with tile. The frontispiece, which faces the south, consists of corner pilasters crowned by a triangular pediment, with a tympanum marked by elliptic oculus. The portico is framed by Manueline decoration, with double arched doors with niche, framed by relief pilasters, ornamentally decorated, with the sculptures of the Anjo da Anunciação (Angel of the Annuciation) and Virgem (Mary) in niche, united by Roman arch and flourishes in the jambs.
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The East Harpswell Free Will Baptist Church is located on the west side of Cundys Harbor Road, the main thoroughfare on Sebascodegan Island, which makes up the easternmost portion of the town of Harpswell. It is a simple, rectangular wood-frame structure, with a front-facing gable roof, clapboard siding, and granite foundation. Its main facade, facing east toward the road, is symmetrical, with two bays articulated by pilasters that rise to a plain frieze board, with a fully pedimented gable above. Each bay houses an entrance, flanked by pilasters and topped by a transom window and corniced entablature.
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Entrance The Roxy Theatre embraces some of the most striking original Art Deco architecture in New South Wales and it still contains the original fixtures and fittings, including the ornate stucco plaster, paintwork and coloured lights from 1936. The theatre complex faces Maitland street and has three shops and a cafe with the theatre entrance positioned centrally. The complex as a whole is a rectangular interpretation of the Art Deco style, with a stepped silhouette, pilasters and entablature and simple panelling to break up its cement-rendered wall surface. The pilasters feature stylised low relief decorative patterns.
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The floor of the front section is of cypress pine and laid as a "waltz" floor to facilitate balls and dancing. Auditorium seating The auditorium decoration repeats the stepped motif of the facade, the ceiling stepping down to meet the walls at an entablature seemingly supported by pilasters. A wavy Art Deco frieze on the entablature and the perforated panels between the pilasters contrast with the angular theme. The wall panels comprise two elements, a central vertical row of five perforated, fan-like elements on each side of which is a vertical row of six rectangles containing diagonal strapping.
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The Old Brick Church stands in the village center of East Montpelier, on a parcel bounded on the south by US Route 2, the east by Vermont Route 14, and the west by Quaker Road. Its walls are brick laid in American bond, and its foundation is cut granite. It is 1-1/2 stories in height, with a gabled roof from which a square tower rises. The tower's first stage has corner pilasters rising to an entablature and cornice, while the second houses the belfry, with louvered rectangular openings, corner pilasters, and surrounding entablature above.
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The building assumes an important position in Santa Cruz, being visible from most places in the town. It includes a principal body, a narrower chancel, two bell towers and annex structures on either side of the presbytery forming "L"-shaped extensions of the presbytery and nave. The entire building is constructed in masonry and stonework, plastered and painted in white, except for the , cornerstone, cornices, pilasters, columns, frames, pinnacles and decorative elements, that include interior arches, pillars, corbels and stonework. The principal facade is divided into three levels by cornices and three vertical sections by pilasters.
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Sydenham House is four storeys high, including the attic. It has a moulded ground floor fascia and frieze below a full-width balcony with a stone balustrade. The first floor windows, tripartite in the centre and paired in the outer bays, have upper glazing bars in curvilinear heads below the swags and the second floor balcony which projects in the centre over panelled pilasters defining the first floor central bay. The square-headed second floor lights have raised arches with pendants, the central bay is defined by plain pilasters with scrolled pediment heads under a panelled band and outer scrolled pediments.
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The entrances to the Council Chambers and Town Hall Theatre are located in the end bays above which a raised signage panel on the parapet clearly denotes these functions. The central bay signage panel bears the name, Gayndah Soldiers' Memorial Hall. The fenestration comprises pairs of three-light casements and fanlight which are separated by pilasters with simple vertical detailing and articulated by raised vertical and horizontal rendered concrete bands. The pilasters finish to the underside of a wide string course that projects forward to form a hood at each entrance and at the centre of the building.
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A narrow metal classical cornice runs across the top of the facade, arching above the central third floor windows to match their curve. The first floor of the facade was modernized in the 1940s, and now contains banded salmon and maroon enameled metal paneling, with a V-shaped marquee projecting above the entrance. The interior contains an auditorium with a flat ceiling and a deep rear balcony. The balcony has simple classical architectural details such as pilasters and cornices The walls and ceiling are painted in an Art Deco style, with tapestries hung on the side walls between the pilasters.
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Mount Harmon is an 18th-century brick mansion built by Sidney George around 1788. It features a central door with a scrolled pediment and pineapple keystone supported by Ionic pilasters. In the late 1920s a frame wing was built on the south gable.
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The earthquake of October 15, 1996 damaged the structure of the church and its bell tower. Extensive restorations have been pursued since. Little movable artwork remains. The interior structure has a central nave separated from lateral aisles by brick columns and pilasters.
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There is an indistinct stucco decoration on the vault and wall of the presbytery and the semicircular triumphal arch. The walls of the nave are divided by cornice pilasters with stucco decoration. There are stucco cut fields on the ceiling of the ship.
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There are three apses with a cornice of false arches and mullioned windows. The three naves are divided by rectangular pilasters. The interior has early medieval frescoes discovered first in 1897. Over the next century, a restoration brought to light more frescoes.
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Owen, Lorrie K., ed. Dictionary of Ohio Historic Places. Vol. 2. St. Clair Shores: Somerset, 1999, 788. Pilasters divide the facade of the courthouse into five bays, and the side into ten, while a prominent belt course divides the first and second stories.
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The building exhibits Greek Revival features, including corner pilasters and a deep architrave. The roof is topped by an octagonal cupola mounted on a square structure. The building was listed on the National Register of Historic Places in 1997 as "Union Hall".
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There is a dovecote with a lantern roof. Windows of note are a two-storey bay and an elliptically shaped one. Additional exterior elements are stone mullioning, Doric pilasters, and a moulded architrave. Inside, there are purlins, an overdoor, and a cantilevered stair.
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The church has a rectangular floor divided into three naves. The central nave has a higher ceiling and between each nave are pilasters crafted in a flowery gothic style. It is considered one of the best temples in the city of Jerez.
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It has an entrance deeply recessed behind a pair of fluted columns, flanked on the sides by pilasters rising to support a triangular pediment. The church, along with its 1924 parish house, was added to the National Register of Historic Places in 1995.
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Such architecture performing is not trivial. Designers used architectural forms which give large and high spaces, often modeled on classical forms from the Roman Empire. The high windows of the waiting room have semicircular upper parts. The facade is decorated with pilasters.
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The house has retained period features, including wide corner pilasters, paired brackets in the gables, and a front porch with trusses and large brackets. Charles Schuebeler was a jeweler. The house was listed on the National Register of Historic Places in 1989.
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It was listed on the National Register of Historic Places in 1982. The house is an "imposing" three-story building. It has a two-story front porch with four columns, two pilasters, and a pediment. The house also has a six-column portico.
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The church is a single-story frame structure, with its gabled roof oriented perpendicular to that of the town hall. It has corner pilasters, which rise to an entablature, and it is topped by a single-stage square belfry with octagonal spire.
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Interior, 1960, HABS The First Baptist Church is built in Greek Revival style. Originally, the building was wide and long. It has molded brick Tuscan portico and Tuscan pilasters along the sides. There is a balcony on each side and above the entrance.
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Its corner location was strengthened by an octagonal tower with cupola which once reached to twice the height of the facade. Classical statuary on each of the pediments completed the impressive composition. The tower, statuary and ground level pilasters were later removed.
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The walls are paneled to simulate pilasters. Windows are one-over-one wood framed units. The building was first occupied by the Petoskey Grocery Company, which was incorporated in 1900. In 1917, the George T. Zipp Lumber Company moved into the building.
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The nave and chancel windows are round headed. Above these is a cornice and a solid red brick parapet, interrupted by ball-topped pilasters over each window on the south side. Externally on the east wall is a 17th-century slate armorial memorial.
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A broad, sweeping concrete staircase leads to the main floor of the Beaux-Arts classical structure. Its entrance includes a pedimented portico supported by six Ionic columns. Doric pilasters separate the main story windows. Cream-colored brick and terracotta finish the exterior.
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There are three entrance bays, articulated by simple pilasters. The side windows are set in round-arch openings. The interior consists of an entrance vestibule, with a single large sanctuary chamber beyond. The roof is supported by scissor trusses composed of massive timbers.
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The unfinished appearance of the pilasters in the upper part of the picture suggests that it was once larger than it appears today. The fragment of Christ with the Virgin's Soul, now in Ferrara, was most likely part of the original composition.
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They are within semicircular arches supported by paneled pilasters. On the second floor the 12-over-12 double-hung sash form balconettes. Above it three more gabled dormers pierce the roof. The north porch is similar but smaller, recessed slightly into the corner.
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A small temple at Kournó has a peristasis of merely 6 × 7 columns, a stylobate of only 8 × 10 m and corners executed as pilasters towards the front.Hans Lauter: Die Architektur des Hellenismus. Wiss. Buchges., Darmstadt 1986, S. 187. 195 Abb. 65. 66a.
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The parapets are banded on both sides by heavy stone bulkheads having pyramidally shaped concrete caps. The bulkheads extend below the level of the road, and continue as pilasters along the sidewalls. The Cedar Creek Culvert is unaltered and in excellent condition.
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It was done in a style described as "modified Italian style", with the a coffered ceiling in white and gold, supported by ionic pillars. The paneled walls were done in Spanish mahogany, inlaid with ivory and richly carved with pilasters and decorations.
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The materials and design of the one-story rear addition, built in 1932–1933, generally match the original building. The west elevation continues the rusticated pilasters and projecting belt course, but is terminated by a flat, stone parapet at the second-story level.
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The classical entry has multi pane sidelights and a transom within engaged pilasters supporting a substantial architrave. A rear ell extension shows evidence of being built at the same time as the rest of the house. This ell contains a kitchen and porch.
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It retains its intricately carved pilasters and capitals. This elevation originally faced the street. Inside the courthouse, the floors of the main lobby and corridors are a combination of marble, tile, and terrazzo. Marble wainscoting appears throughout the 1905 portion of the courthouse.
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It has a side-gable roof, and is five bays wide with a center entry. The entry is topped by a fanlight and moulded architrave, and framed by Ionic pilasters. The house was listed on the National Register of Historic Places in 1971.
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It is adorned with a decorative tripartite arcade framed by massive projecting pilasters and bears frescoes and zoomorphic sculptures in relief. The frescoed outer walls at Nakipari are among the earliest in Svaneti and façade sculptures are unusual for the region's architecture.
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It has one bell tower with two levels also in Baroque. The side portal faces Calzada Mexico- Tacuba. It also has an arched entryway, but marked with wavy grooved pilasters and topped with a niche. Part of the former cloister is also preserved.
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The style of the building is Neoclassical, with the appearance of a Greek Temple. The building is constructed of sandstone, with a roof of Welsh slate. The main, western, front has a Tuscan Doric portico. The eastern front is windowless, with Tuscan pilasters.
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The facades of the house and wings are decorated in a uniform manner, in the style of late classicism. In their decoration there are floor pilasters, rustic blades. The wings are symmetrical, they face the boulevard with narrow facades four doors wide.
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The front facade features full-height pilasters and an arched opening with decorative brackets. The theater portion of the building was removed in 1985. Note: This includes and Accompanying photographs. It was listed on the National Register of Historic Places in 1983.
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This church was erected in 1631. It was later enlarged to add two naves to the side. The facade pilasters, frames, and roofline were made of pietra serena, a grey local sandstone. The weathering of the elements creates an illusion of melted stone.
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It has a fully pedimented front-facing gable, with a flat-roof single-story porch supported by fluted Doric columns. Corner pilasters rise to an entablature that encircles the building. The house was listed on the National Register of Historic Places in 1985.
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The villa was erected in 1820 with design by Luigi Canonica. The façade has monumental ionic pilasters arising from the Piano Nobile and two flanking wings extend forward. The rear has a large public garden. The interiors include a large oval salon.
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The 1874 building is small and symmetric, with brick walls on a limestone foundation. Windows have lancet tops, identifying the architectural style as Gothic Revival. The windows are framed in shallow brick pilasters and a decorative pattern is worked into the brick under the eaves.
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The villa was built in the Neo-Renaissance style. It had originally a garden on the southern side. On the eastern facade is located a small terrace, hanging over pilasters. Between the windows two half-columns are supporting the entablature and a decorative frieze.
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The church was built in 1776 and consecrated in 1790 by the archbishop of Fermo. The brick facade with pilasters and a portal with a rounded pediment is sober. It is flanked by a tall bell tower.Beni Culturali Province of Macerata, Tourism entry on church.
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A bakery occupied the building for several decades. The two-story brick structure features a corner cock tower, pilasters that divide the slightly inset bays, and a cornice of corbelled bricks. The building was listed on the National Register of Historic Places in 2004.
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The roof is pierced by five dormers, all but the center one with gabled roofs. The center one matches the entry trim in having a rounded roof. The right-side projecting has a secondary entrance, also flanked by pilasters. The house was built c.
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The bays of the nave are divided alternately by buttresses and triangular-headed pilasters between which are paired lancet windows. The spire is a large flèche with wooden louvred bell-openings on each face. Above these are lucarnes, a lead finial and a weathercock.
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A stone portal, attributed to Melchiorre da Montalbano, consists of flanking column-pilasters with bas-reliefs of bishops. In a niche above the portal is a half-figure bust of San Stefano.Tourism Guide of Marsico Nuovo. The bronze doors (1699) are by Antonio Masini.
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A church at the site is documented since 1308. The present brick collegiate church dates to 1768, when it was completed in a baroque style. The brick façade is a subdued and traditional two story church front with pilasters. The lateral flanks slightly recede.
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The water tower is built in reinforced concrete. It has a round foot print and pilasters at close intervals. The lower part of the structure has round windows in a helix arrangement. It has a diameter of 20 m and is 34 m tall.
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The large, rectangular auditory is located on the upper floor and is circumferentially equipped with a matroneum. The wall is segmented with alternating arches and pilasters. Lunette caps with plaster busts of famous medics are located above them. The coffered ceiling is made of stucco.
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Inside the church is a west gallery carried on Doric columns. The gallery is panelled, as are the nave and chancel to dado height. In the chancel the panelling is divided by fluted pilasters. The font is an 18th-century baluster with an octagonal bowl.
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The main facade is three bays wide, with the front door at one end. The door is flanked by four fluted pilasters. The windows are primarily double-hung sash units with two-over-two lights, save for a six-over-six window in the attic.
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Bells Mills Bridge is a historic wooden covered bridge in Sewickley Township and South Huntingdon Township, Westmoreland County, Pennsylvania. It is a , Burr truss bridge, constructed in 1850. It features pedimented gables and plain pilasters in the Greek Revival style. It crosses Sewickley Creek.
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The east room mantel has fluted pilasters and a tall paneled frieze. The center panel features a motif with a diamond-shaped center with quadrant-cut corners. The mantel in the west room is similar, but more conventional, with three identical plain rectangular frieze panels.
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Another reconstuction and reconsecration took place in 1747 by the bishop Antonino Serafino Camarda (1724-1754). The facade presently faces North-East. The interior has rich stucco decoration, including for capitals of the pilasters. At the apse, the walls have polychrome marble and gilded capitals.
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The interior has three naves, with heavy pilasters flanking the central nave. The semicircular apse is elevated relative to the rest of the church.Chiese delle Diocesi Italiana, website, entry on church. The church suffered from recent earthquakes and in the 21st century underwent restoration.
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The front windows have louvered shutters. Above the front gable is a large square wooden bell tower. Its corners feature capped pilasters that frame the double louvered panels of the bell chamber. It is capped with a metal spire with a brass ornamental cross.
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It features blocked openings with multiple arches, double round arches, Corinthian pilasters, and organic corner detailing. The courthouse is elaborately windowed. Some windows, mostly on the first floor are straight topped. On the second floor most of the windows are topped with limestone arches.
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The first floor has rounded headed windows separated by decorated pilasters and a smaller central window at the head of the staircase. The top storey has similarly spaced rectangular windows and is very plain. The parapet is severely plain and conceals the metal clad roof.
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It features a central projecting entrance pavilion of stone, brick pilasters, and stone cornice and brick parapet. Note: This includes It was named for Naval hero John Paul Jones (1747–1792). The building was added to the National Register of Historic Places in 1988.
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The entrance itself is flanked by Ionic pilasters and topped by a fanlight and dentillated segmental pediment. The south and east sides each feature porches with Doric columns and balustrades. The house was listed on the National Register of Historic Places on August 18, 1992.
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The main nave is divided by prominent pilasters into two nearly equal parts. The vault over the middle nave is supported by arches. The arch of a semicircular apse is two- tiered and somewhat horseshoe-shaped. The apse itself is lower than the central chamber.
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Interior designs decorated with classic motifs, with the participation of Venetian mirrors with semi-circular arches. The walls are divided into decorated panels. Double corinth pilasters decorates the interior. Columns describe the composition of the rooms and are the most active elements of the interior.
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The center entrance is flanked by pilasters and topped by a fanlight window and a cornice. The house is a comparatively ambitious and sophisticated Federal style house for a rural area. The house was listed on the National Register of Historic Places in 1982.
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The table-tomb of Sir Roger Lewknor (died c. 1478) survives in the north-east corner of the chancel. Its sides display festoon motifs and slender sculpted niches. In the south-east corner is the monument to Anthony Foster (died 1643), formed with pilasters.
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The design of the interior includes elements such as marble in the vestibule, oak panels and decorations in the reading rooms, fireplaces, and Tuscan pilasters. Although its architecture is restrained, the library remains a fine example of Neoclassical architecture with a Beaux-Arts influence.
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From above, the arch forms a rectangle 11.93 metres long and 7.3 metres wide. Constructed with white marble from Foresto, it rests on two large bases. There is only one archway. The arch has a unique arcade, in which the archivolt is supported by pilasters.
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The building is surrounded by home and commercial buildings. Only the façade facing the piazza is visible. It is in three parts, divided by pilasters topped by Corinthian capitals. The columns support a pediment topped by statues of St Clement, St Giustina and St Daniel.
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The pilasters turn into the ribs of the vault. This one is divided into eight slices whose center represents the Agnus Dei. On one side of the octagon there are a wooden confessional and a side exit. The four sides of the octagon receive altars.
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The Palmer arms are represented in stained glass on the half-landing of the staircase. Nikolaus Pevsner called it the "best house in town". It has also been described as "a most interesting example of brickwork subordinated to a Palladian treatment of pilasters and cornice".
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Then comes an upper tier of windows with Ionic pilasters and at the top a cornice and a plain parapet. In the east wall is a Palladian window. The tower is in cast iron and has octagonal and square stages with a slim ogee-cap.
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The outer walls have flat pilasters but there are no signs of projections or sculptures niche. The roof is an octagon to dome topped by a tiny amalaka finial. It is framed by corner model elements topped by kuta roofs containing miniature nidhis.Michell, George (2014).
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It was built in the 17th century. It has a sober portal with a simple arch and pilasters. Above it, there is a choral window decorated with pinnacles and small spheres. Above this, there is a Calatrava coat of arms, topped by an anagram.
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The main entrance, on the west end, has sidelights and a transom surrounded by flat pilasters supporting the cornice above it. A single raised panel is above both front windows. All windows have louvered shutters. On the sides are two gabled one- story wings.
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The sanctuary consists of a wide nave with a flat, compartmented plaster ceiling.Drummond 1934, p. 88. A "U"-shaped gallery, supported on marbled Corinthian columns, stands against the north, south, and west walls. Round-headed arches on Doric pilasters open into the transepts and chancel.
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The church is constructed in hammer-dressed stone, with ashlar dressings, and rusticated quoins. It has a slate roof, and is in two storeys. The entrance front is in three bays. The doorway is in the centre of the lower storey and has panelled pilasters.
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The main building is designed in the Neoclassical style. It consists of two storeys over a high cellar and has a rectangular floor plan. The central part of the southern facade features four Ionic pilasters. The building has sash window, an influence from English architecture.
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Bands of sandstone horizontally span the facade. The engine door has cast-iron pilasters on either side. A tower extends to four stories on the southern side of the building. The mansard roof and tower roof are covered in orange terra cotta-colored pantiles.
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The Henry Franks House is a two-story frame Greek Revival upright and wing house with clapboard siding. It has a wide, continuous band beneath the cornice and corner pilasters rising to meet it. Porches with square columns are constructed in a similar style.
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The clerestory above is of perpendicular style. From the capitals pilasters rise to the first string course but appear to have been removed from the triforium stage. Originally they might have supported the roof timbers, or even been the springing of a vault. and Hasted.
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The church occupies a prominent corner position in the city and is seen above a contemporary brick wall, metal fence and painted pilasters. Other buildings on the site are either of recent origin or are early buildings which have been severely modified and extended.
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The front of the limestone building has four Ionic pilasters around the door with a pediment above. The roof of the building has an octagonal leaded cupola. On the rear of the buildings are carved moors heads. Inside are a square chancel and a nave.
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At the tower wall a two-story pulpit was built, which was carried out in classical style. The church is enlighted by high arched windows. Corinthian pilasters and a friezed entablature dominate its interior, as well as three articulated ceiling stucco cartridges in classical design.
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The roof is gabled with returns; the projecting eaves are likewise bracketed. All sides have rounded stained-glass windows and corner pilasters. A later addition, on the rear, has a lower but similar roof and dentilled cornice. Two other additions are of similarly sympathetic styling.
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Construction of the palace was commissioned from Marc’Antonio Zani, from the architect Floriano Ambrosini. The palace was completed in 1594. The facade has a giant order of pilasters, standing atop a rusticated portico. The courtyard had an illusionistic fresco (1785) painted by Antonio Bonetti.
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The doorways on both levels are recessed and are surrounded by sidelights and a transom. A plain pediment crowns the portico. The exterior corners of the house have paneled pilasters, reaching up to a plain entablature above the second floor. The roof is hipped.
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The interior is subdivided into three naves by sturdy pilasters leading to ogival arches. The narrow windows also have acute arches. The church, built of brick has fresco fragments from the 12-14th centuries on the walls of the nave.Pro Loco Treia, entry on churches.
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The exterior features fine Greek Revival detailing, including corner pilasters and a pedimented gable with frieze trim. The house is not out of scale with the modest houses that surround it. The house was listed on the National Register of Historic Places in 1989.
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Front doors were flanked by columns or pilasters. Railings were the most intricate embellishment in a Goan house. Pillars, piers, and colours do not seem to be influenced by any style in particular; rather they conform to a rather mixed bag of architectural styles.
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The ceiling is curved at the corners with boarded panels running lengthwise, widthwise and diagonally. The central area has two roses on cast iron grating for ventilation. The proscenium arch has rendered pilasters and entablature with a laurel frieze. The backstage area is painted black.
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It is Classical Revival in style. It has an Ionic tetrastyle entrance and Ionic pilasters. It stands on the site of Georgia's "Old State House", the state's first capitol building; old brick and timbers of the historic building's foundation were found during construction. With .
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Inside the manor is a spacious hall which is dominated by twin Jacobean staircases and gallery with barley sugar twist balusters. The panelled walls and pilasters are in building styles associated with the Tudor Elizabethan period. Two priest-holes are also located in the house.
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The windows have carved brackets. There are open pediments with cartouches and brick parapets with molded stone coping. The taller auditorium, to the northwest, features a banded chimney and decorative brickwork facing the south. The east elevation, along Pearl, has circular arcading and banded pilasters.
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Worlaby Hospital Built for John, Lord Bellasis, the Governor of Hull. The front is of five bays and two storeys, divided by giant Doric pilasters. Flat projecting surrounds and strange hoods to the doors and to the ground-floor windows. Big fat studded cornice.
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Two double-hung six-over-six windows are located on both stories on each side of the portico; the windows are separated by brick pilasters. The house's interior has a symmetrical plan with two main rooms on each floor and a central foyer and staircase.
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Three window openings with round arched heads fill the upper facade. The elaborate hood moulds of the arches are carried by fluted pilasters with Corinthian capitals. This arrangement gives the impression of arcading on the upper facade. Within the openings are timber sash windows.
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Walls are also clad in golden-vein marble. Fluted marble pilasters topped with a gold star motif flank window and door openings. A plaster entablature surrounds the top of the room. Painted in terra cotta and sepia tones, it features geometric Art Deco motifs.
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They contain one window flanked by pilasters. The porch continues onto the main facade's two bays. On the first floor, the northern bay serves as the main entrance. It is topped with a carved cartouche consisting of the WH monogram, ribbons, fruits and oak leaves.
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In 1677, a fire destroyed this church. It was rebuilt as a public church and named the Purísima Concepción church in 1730. The walls and buttress were made of tezontle. The facade, pilasters, arches, vaults and cupola of sandstone with stairs made of granite.
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The original mayor's office is directly opposite the top of the stairs. It has freestanding fluted Roman Doric columns in the entrance. Fluted wall pilasters and marble wainscoting supporting a full entablature and arched ceiling. On either end of the hallway are city council chambers.
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It is a 2-1/2 story wood-framed structure, with a front-facing gable roof and clapboard siding. The building corners are pilastered, and it has a wide cornice. The front entry is flanked by sidelight windows and pilasters. The house was built c.
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It has a cross-gabled roof crowned by a slender, distinctive tower. The main entrance displays fluted pilasters and a large fan in relief above the door. Currently unoccupied, the structure once housed hospital employees. Other notable early buildings are located on the grounds.
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Hanging from the ceiling were three, 12-light crystal chandeliers with three hidden tiers. The fireplace in the east wall featured a cast iron firebox, framed by marble pilasters. It had a marble mantel, and a mirror overmantel in an 18th- century English style.
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The interior in 2018 The church consists of a rectangular nave with two pentagonal extensions to east and west. White pilasters decorate each of the corners. Christian VI's monogram can be seen in the triangular gables topping the outer walls of the nave.Damsholte kirke.
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There are also several smaller sets of steps leading to the outside from minor entrances. The entrances are framed by pedimented parapets, which sit on pilasters. The roof has a low pitch with wide overhangs, and is covered with asbestos tiles in a diamond pattern.
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The two-story building on a raised basement was built with dark brown brick. The roof is red tile, decorated with a brown terra cotta cornice. Large pilasters decorate the corners with terra cotta capitals and bases. The main entrance is on the west elevation.
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Decorated in the style of late classicism. The concave facade is decorated with a gallery with pillars cross-shaped in cross-section, with shoulder blades and pilasters of the Tuscan warrant. The ends of the building, designed for fish shops, decorate the triangular pediments.
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The apsidal chancel is divided into five bays by pilasters acting as buttresses. In the south bay is a two-light window with Y-tracery. The southeast bay contains a lancet window and a memorial tablet. The east window has two lights containing Decorated tracery.
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It features a bracketed cornice and corner pilasters. The house is capped with a low hipped roof. Built onto the back of the house is a single story addition with a gable roof that served as a kitchen. Beyond that is a smaller frame addition.
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October 10, 2004. F-1-F-2 The hotel was designed by New Orleans-based architect James Brooks Graham. It contains a lobby with 23’ ceilings and ornate pilasters and is topped by several penthouses.Bogart, Jon. “International House: New Orleans’ Extraordinary Boutique Hotel.” Traveleatplay.com.
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The Amos Stearns House is a historic house in Waltham, Massachusetts. Built c. 1845, this -story wood-frame former farmhouse is a reminder of Trapelo Road's agricultural past. It has well-kept Greek Revival styling, including corner pilasters and an entablature with dentil moulding.
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The main entrance is framed by sidelight and transom windows, with pilasters and an entablature. The house was built in 1905 to a design by noted Arkansas architect Charles L. Thompson. The house was listed on the National Register of Historic Places in 1976.
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The design involved an asymmetrical frontage with four bays facing Hamilton Road with the right hand bay containing a high five-stage clock tower with a dome; the central section featured an arched doorway on the ground floor flanked by pilasters with a fanlight above; there was a stone balcony and a double window on the first floor flanked by pilasters with a gable above containing a tympanum and an oculus. Internally, the principal room was a double-height public hall with seating capacity for 1,200 people in the centre of the building. The horse- drawn fire engine was also based at the town hall.Naismith, p.
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The Osterville Baptist Church is set prominently in the center of Osterville on the north side of the junction of Main Street and Wianno Avenue. It is rectangular single-story wood frame structure, with a gable roof, vinyl siding, and a brick foundation. Its exterior features a mix of Greek Revival and Gothic Revival styling, with corner paneled pilasters rising to entablatures running along the sides of the building, and lancet-arched panels above its windows. Its facade is symmetrically arranged, with a pair of entrances, each framed by sidelight windows and pilasters, with an entablature and cornice on top, and sash windows above.
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In modern times—Tusmore House, Oxfordshire: > The great triumph of the saloon, however, is the use of scagliola, including > the richly coloured and figured Sienna shafts of the eight fluted Corinthian > columns...and the urns, entablature and balustrade to the second-floor > landing which gives access to four plaster-vaulted ante rooms serving the > main bedrooms. All this scagliola was produced by Richard Feroze, England's > leading contemporary scagliola-maker.John Martin Robinson in Country Life, > December 8, 2005. Italian plasterworkers produced scagliola columns and pilasters for Robert Adam at Syon House (notably the columns in the Anteroom) and at Kedleston Hall (notably the pilasters in the Saloon).
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At the center is the portal, accessible by a cascading staircase. Flanking the portal are two massive columns on square bases, outside of which are niches containing statues of Saint Giusto (on the right) and Saint Fortunato (on the left). The entablature, sitting directly above the portal, is crowned by a high balustrade alternating with columns and pilasters, above which, in the center and standing within a grand and highly decorated arch, is a statue of Saint Orontius. The western entrance, found directly across from the archbishop's residence, is divided by fluted pilasters into three vertical sections corresponding to the three naves of the interior.
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The Berwyn Municipal Building, also known as Berwyn City Hall, is a historic public building located at 6700 26th Street in Berwyn, Illinois. The building was constructed in 1939 as a Public Works Administration project. The architecture firm of Charles Herrick Hammond and Hubert Burnham designed the building in the PWA's characteristic PWA Moderne style; their design features square massing, a flat brick and limestone exterior, prism-shaped pilasters, and reeding above the entrance. While the pilasters are in keeping with Moderne design, their prism shape is unusual; they may have been influenced by Burnham's earlier work or by Czech Cubism, given Berwyn's substantial Czech- American population at the time.
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The west facade of Alexandria City Hall is approximately long and consists of two-story section split with two three- story pavilions which are divided into three bays by four three-story brick piers. The east facade of the hall is located on North Fairfax Street and is the same length as the west at ; it is deep. It has a two-story section, divided into nine bays by brick pilasters, and is terminated on both ends by three-story pavilions which are three bays wide and have three-story corner piers. Some of the pilasters originally contained stove flues and were topped by brick chimneys, but these no longer exist.
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The Hamilton House is set on of land overlooking the Salmon Falls River, the border between South Berwick and Rollinsford, New Hampshire. It is a 2-1/2 story wood frame building, with a hip roof, clapboard siding, four brick chimneys symmetrically placed in its outside walls, and gabled dormers on all four elevations. It has entrances on its north, south, and east sides, each flanked by pilasters and topped by a gabled pediment; that on the north side has a more elaborate treatment, with sidelight windows and a second pair of pilasters. On the north and east facades, there are Palladian windows above the entrances.
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See also: Accompanying one exterior photo from 1962 On the main block, the basement windows are set with 10-over-10 double-hung sash windows topped by splayed-stone lintels. Just above them the water table serves as a base for the six fluted Ionic pilasters that rise both stories, forming a colossal order. On the first story they separate 15-over-15 double-hung sash with a carved panel in the middle of the lintel. Stringcourses between the colossal Ionic pilasters separate the first-story windows from their second-story counterparts, also 15-over-15 but arched and set in a slightly recessed double arch.
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This plane rests on six pairs and four single pilasters, each of which is capped by a caryatid, and between which are clerestory windows. Below the windows is a continuous architrave, broken only by baldachins at the base of each of the above pilasters. Gold leaf and painted coffers of the Senate chamber ceiling On the chamber's east and west walls are eight murals depicting scenes from the First World War. Painted in between 1916 and 1920, they were originally part of the more than 1,000 piece Canadian War Memorials Fund, founded by the Lord Beaverbrook, and were intended to hang in a specific memorial structure.
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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 Mississippi Governor's Mansion is located three blocks south of the Mississippi State Capitol, on that take up an entire city block, bounded by East Amite, North Congress, East Capitol, and North West Streets. Its formal entrance is oriented south towards East Capitol Street, while a secondary entrance faces north toward Smith Park, Jackson's oldest public park, which occupies the next city block to the north. It is a two-story masonry structure painted white, basically rectangular in plan. Its front facade is five bays wide, each bay articulated by pilasters with scrolled capitals; bays on the side elevations are separated by doubled pilasters.
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The Deane house is a two-story wood frame structure, four bays wide, with two asymmetrically placed interior chimneys, and a two-story ell extending to the rear. The main entry, in the second bay from the right, is flanked by pilasters and topped by a crowned and dentillated pediment. The interior features original woodwork, including pilasters and fully paneled fireplaces, and an elaborate stairway balustrade.. The house was built in 1766 by Silas Deane. Trained as a lawyer, Deane became involved in resistance to attempts by the British Parliament to levy taxes on its colonies in the late 1760s, and was elected to the Second Continental Congress in 1775.
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Framing this recess are two sets of columns, Doric order at the ground floor and Corinthian order on the first floor. The ground floor has a smooth rendered base, above which the body of the walls are rusticated, with centrally located round arched window openings to both floors. The upper floor has paired Corinthian pilasters which frame the face of the sections flanking the entrance bay. Seemingly supported on the pilasters and the attached columns of the central bay on the first floor, is a dentilled entablature surmounted by a decorative parapet, with central triangular pediment flanked by balustraded sections over the side bays.
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The heavy entablature has three bands in the architrave; a band of foliated molding under the plain frieze; and a denticulated cornice defined by a bead and reel molding and an elaborate crown molding. Around 1855 the rear portico was enclosed and is now divided by six pilasters (originally square pillars) into five bays of windows with small protruding balconies in the end bays. A two-story north wing, added around 1855, is attributed to Alexander Jackson Davis, a former partner of Ithiel Town. Although not consistent with the symmetry of the whole, it is treated sympathetically through the use of identical pilasters and entablature.
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General repairs were completed by the architect Robert Reid between 1824–1834 that included the partial rebuilding of the south-west corner tower and refacing of the entire south front in ashlar to match that of the east. The east (rear) elevation has 17 bays with lightly superimposed pilasters of the three classical orders at each floor. The ruins of the abbey church connect to the palace on the north- east corner. For the internal quadrangle, Bruce designed a colonnaded piazza of nine arches on the north, south and east facades with pilasters, again from the three classical orders, to indicate the importance of the three main floors.
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The unique nave is covered in wood with three plans, with a lower footer in blue and white azulejo tile. Within this space, framed by the same portal and window, to the right, is a basin for holy water, while a triumphal arch framed in stonework, with pilasters and single step. The presbytery is covered with vaulted-ceiling, with cornice, while the main altar is preceded by two steps and framed within a gilded retable. A central rounded niche is flanked by pilasters with volutes and upper architecture in multiple lobes, framed by a medallion with the monogram AM circled by glint and urns.
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The lower parts of the exterior walls contain alternating bands of tuff and travertine. The gabled west front has a portico with three high round-arched openings in front standing on square pilasters, and corresponding to each arch a doorway behind opens into the body of the church, each one surmounted by a single window filled with stained glass. In the pediment are the sculptured arms of Pope Pius XI, while on the pilasters in the angles are statues of the Four Evangelists. To the south of the church, in an isolated position, stands the tall campanile, built on a square groundplan, also with alternating bands of tuff and travertine.
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Four columnar pilasters surmounted by capitals and moulding give a vertical dimension to the appearance and support the upper cornice with its grand central arch. The upper part of the facade consists of a succession of levels of rectangular blocks of decreasing size, linked to curved volutes at the base of the first and second levels and with volutes in the remaining, upper levels separated by variegated moulding. On the contraforti of the first two levels there are, respectively, vases and truncated pyramidal obelisks. Inside the pediment of the first level (which is framed by pilasters) is the crowned coat of arms with the motto DIVO BARTOLOMEO DICATUM.
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This rectangular structure has an advanced central corp and is covered by an articulated roof with an integrated central skylight. The facades in cornerstone and granite have successive pilasters supporting an entablature with frieze, superimposed by wooden flap. Each vain opens to a rounded arch and is interconnected by frieze at the arched cornice, along with glass iron doors, painted in green and decorated with geometric motifs (that integrate simple and polychromatic glasses). The interior is plastered and painted blue, encircled granite base and sections defined by pilasters where iron structures that support that roof are affixed, lined with wooden lathes painted in blue.
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The front facade features fluted Ionic order pilasters rising to a frieze supporting a broken pediment. The building housed federal government offices until 1990. The building was renovated in 1991 to house law offices. It was listed on the National Register of Historic Places in 1993.
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A line of rosettes between pilasters separates the two upper floors. The words "WATSON BROS. LIMITED" appear painted on the frieze below the parapet. Centred on the parapet of each portion is a closed-off arch below a small triangular pediment and flanked by florid scrolls.
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The three-story brick building features a symmetrical facade. The center bay has three round arch windows that are flanked above and below with ornamental brickwork. There is also brickwork near the cornice level of the side bays. The three bays are separated by brick pilasters.
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View of sacristy The 17th century sacristy is located on the south side of the choir and is connected to the choir by a stone arch. The sacristy is octagonal in shape with a classical facade decorated with pilasters. The roofing slates are from the Monts d'Arré.
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The church layout now has a single nave. The presbytery is elevated to accommodate the crypt, and the apse has two large chapels.Tourism of Macerata , entry on abbey church. The crypt is the jewel of the site, with seven naves densely populated by columns and pilasters.
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At the centre is a two-storey semi-octagonal bay window. In its lower storey is a Venetian window that has been converted into a French window. On each side of it are Ionic pilasters, and above it are roundels. Over all this is an arched window.
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The Henry Stussi House is a two-story brick building with a three-story tower. It is cruciform in shape. The main section and the tower both have gable roofs embellished with decorative wooden pendants and finials. The front façade has stone pilasters at both corners.
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Unlike some other great houses, its exterior was austere and not adorned with pediments or pilasters. For some, this gave it a noble simplicity. For others, it seemed unremarkable and undermined the case for preservation. Its exterior contrasted with a richly ornate and well- proportioned interior.
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Ellery's Buildings, Toodyay circa 1910s The row of six shops is of rendered brick construction with an iron roof. The parapet has been divided by pilasters adorned with urn finials. The bullnose verandah canopy is supported on turned timber columns. The shops all have different style frontages.
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The figure stands atop a red granite pedestal that has arches, columns, and pilasters. Two full-length bronze female figures, one on each side, flank the pedestal's base. Each figure is seated and wears classical robes. "Justice", the figure on the proper left, has long, braided hair.
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A decorative element of the tower is an attic with a blind arcade of arches of Romanesque and Renaissance pilasters. In 1987–1990, a new bell tower was built in the courtyard in front of the façade, which was harmonized with architecture of the old church.
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On the wall there is a large and high rectangular window. Another window cut in the middle of the south wall of the church is relatively low. On the south wall there are two pairs of pilasters, with simple arches embedded in the arches of the wall.
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Very flat Corinthian pilasters, doubled at the corners, divide the applied facade in three bays, with shell-headed niches flanking the door. Inside there are frescoes by Girolamo Siciolante da Sermoneta and Pellegrino Tibaldi. Julius had the church engraved, plan, elevation and in perspective (G. Vasi 1761).
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The roofline has an overhanging eave with a continuation of the denticulation on the pediment. Smooth round pilasters frame the recessed main entrance, topped by a rounded fanlight. It opens into a central hall. There is one room on the east and two on the west.
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The church had a typically Jesuit appearance before it was reconstructed in the Orthodox style. The bell tower and the central dome rise above the roof. The main facade consists of decorated pilasters. Eight small altars are set near the columns which separate the three naves.
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Two are coffin shaped. Three contain at their corners, either buttresses, pilasters, or half- balusters. One has an arch-shaped headstone attached. Another, large and shaped like a sarcophagus, has rebates--continuous notch cut into an edge--at corners, a deep cornice, and a gabled top.
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It is located in the northern part of the transept. It has a Plateresque portal by Francisco de Baeza, flat pilasters, on pedestals, with jambs and lintel with carved plant ornaments. It has a large frieze and pediment, with the arms of the bishop Fadrique de Portugal.
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It has a one-story rear wing. The front elevation has eleven bays separated by two-story Tuscan order pilasters. It is an example of Beaux-Arts-style architecture with Moderne influences. The site was previously the location of the Lancasterian School and a Moravian graveyard.
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A masonry cornice runs around the top of the wall. A sandstone parapet wall runs along the eastern edge at the top of each abutment. The walls terminate in rectangular sandstone columns. These columns extend downwards to form pilasters on the eastern facades of the abutments.
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The stone foundation is strongly battered, with short piers or pilasters at the corners. The interior is a single room, with a low platform opposite the entrance. The single door is set in a Gothic arch. Lancet windows flank the entrance, set in Gothic arched openings.
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Front façade The former Congregational Chapel is a two-storey building in red brick with stone dressings. The front façade has three bays topped with a pediment supported by large brick pilasters. The pediment bears a stone plaque inscribed with the date in Roman numerals.Pevsner, p.
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The facade faces north toward West Central Street. A central projecting pavilion rises the full three stories, with the first story being an entrance portico. Paired Doric columns support the portico entablature with its bracketed corners. Narrow Doric pilasters frame double Italianate style "tombstone" entrance doors.
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Its main entry is flanked by pilasters and topped by a fanlight window and broken gable pediment. An ell extends to the right, joining the main house to a garage added in 1958. The house was listed on the National Register of Historic Places in 1978.
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The 1-1/2 story wood frame house was built c. 1855, and is a rare local example of a Greek Revival cottage. It is five bays wide, with its roof line oriented side to side. Below the roof is a wide entablature, supported by corner pilasters.
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The Ellice School is a historic two-room schoolhouse at 185 Pleasant Street in Millis, Massachusetts. The single story wood frame Greek Revival building was constructed c. 1849, when Millis was still part of Medway. It is sheathed in wood shingles, with wood trim, including corner pilasters.
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"Eyebrows Lifted Over New Names At Amphitheater." Washington Post. November 13, 1937. But only Congress had the authority to change the pilasters, and no legislation to add names was ever introduced. Confederate Memorial Day ceremonies moved to Arlington Memorial Amphitheater from the Confederate Memorial in 1936.
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That has its original wooden Federal mantel, supported by tapered pilasters. All door and window openings in the thick stone walls taper up as well. Modern pine wainscoting and a herringbone patterned brick floor have been added. The original storage room hosts a modern kitchen facility.
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The cornice, an elaborate belt course did not carry over from the tower section. The strip pilasters have a broad pediment on the second floor level. A cornice at the top of the tower conceals a gable roof. The four-story, rectangular section had a flat roof.
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The Marcus Sears Bell Farm, also known as the Bell-Tierney Farmstead, is located in New Richmond, Wisconsin. It was added to the National Register of Historic Places in 1988. It includes a two-story Italianate farmhouse with a hipped roof and with endboard pilasters. With .
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Behind the effigy is a tripartite pylon with sunk molded borders supporting the cornice and framed by two additional Corinthian pilasters. Above it rests an entablature of the Madonna and Child on a half-lunette, a typical—symbolizing intercession—motif for a tomb.McHam, 1989, p. 149, 159.
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It is a brick building set on a fieldstone foundation. The front facade features a portico with twin sets of flanking brick pilasters and a central pair of fluted Doric order columns. See also: It was added to the National Register of Historic Places in 2005.
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The polifora is a multiple-part window, divided by small columns or pilasters. Each part has a small arch, which can be round or, more often, pointed. Central parts may sometimes be taller than side openings. The space among the arches is often decorated or perforated.
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There is a single story porch, supported by Tuscan columns, that wraps around both sides of the house. The front entry is flanked by sidelight windows and pilasters supporting an entablature. The house was listed on the National Register of Historic Places on December 9, 1994.
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The eighth floor is set off with a terra cotta cornice. The windows on that floor are surrounded by pilasters and window hoods decorated with wreaths and foliage. Inside, the first floor housed an elegant lobby and retail space. Above that each floor held about 30 apartments.
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Vermont marble was used extensively inside. Contrasting with the romantic, heavier- looking, darker brick depot, its style is fairly simple, very symmetrical Beaux Arts. The three-bay, central entry is topped by a low-pitched pediment, with five-bay wings on either side. Pilasters define each bay.
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The Engelbert B. Born House is a two-story, L-shaped, frame Italianate structure on a masonry foundation. It is sided with clapboard and has paneled pilasters on the corners. The low-pitched hipped roof widely overhangs the walls, and has a cupola at the top.
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The William H. Brown House is a two-story frame Italianate structure with clapboard siding with a low-pitched hipped roof. The eaves widely overhang the walls, and the corners of the house have pilasters. A porch has been added to the side of the house.
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Siddhesvara Temple at Haveri, has a staggered square plan with dravida articulation and superstructure of 11th century vintage, to which some innovative 12th century elements such as aedicules, miniature decorative towers on pilasters, were added.Foekema (2003), pp.56–57 The temple is built of soapstone.Foekema (2003), p.
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Foekema (1996), p. 21 The elegantly decorated ceilings, the domical ceiling of the open mantapa, the sculptures of Dwarapalakas (door keepers) in the closed mantapa (also called navaranga), the wall panel images numbering 120 (on pilasters between aedicules–miniature towers) carved on the outer walls are noteworthy.
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The Stephen Cooke Brown House, on Kentucky Route 438 near Springfield, Kentucky, was built in 1843. It was listed on the National Register of Historic Places in 1994. It is a two-story Greek Revival-style house with a portico that has been modified. It has pilasters.
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Bydgoszcz 2008. Its footprint is rectangular, with an inner courtyard as a well and two wings running along Gdańska Street and Freedom Square. The building has three storeys, a cellar and an attic. Facades are richly decorated with pilasters, cartouche motifs and balconies ornamented with baluster railing.
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The Brockley Road frontage is based on an Art Deco elevation which dates from 1931. A broad flight of steps passes into a deep-recessed central foyer. Pilasters, topped with plasterwork urns, terminate the elevation and the frontage currently features two signs reading 'Dancing' and 'Tonight'.
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The front of the building has Corinthian columns in the centre and pilasters to the sides. A central semicircular-arched doorway has cast-iron lion-head knockers. A frieze with human and animal heads symbolises trade, and a Royal Coat of Arms is displayed in the tympanum.
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With . It is a brick structure, with brick laid in double-stretcher Flemish bond and in American bond. Its facade has three pilasters supporting an entablature which gives a pedimented appearance, consistent with Greek Revival style, but the church's Jack arches are elements of Federal style.
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It matched the university's first residence hall, Old East. Nichols added a story to Old East to make it the same height as Old West. In 1844, architect Alexander J. Davis lengthened the building and on its north end attached a façade with windows and pilasters.
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The Union building at 65–73 Union Street was built in 1896. Georgian Revival in style, it has seven bays with storefronts on the ground level, and an entranceway recessed behind an arch flanked by brick pilasters. It also has a modillioned cornice, with dentil moulding.
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Accessed 2010-05-13. and is covered by a flat roof. Next to this portion is a connected building, four stories high and also built of brick. Large sash windows and Ionic-capped pilasters are among the most distinctive elements of the primary portion of the hotel.
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The granite pilasters were probably taken from the Roman forum sited at the location of the present Piazza della Repubblica. At that time, the baptistery was surrounded by a cemetery with Roman sarcophagi, used by important Florentine families as tombs (now in the Museo dell'Opera del Duomo).
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Both private and public buildings have been found in the neighborhood along with cisterns and churches. The necropolis shows a variety of burial styles from sarcophagi or pyramids to columns or pilasters. This ancient settlement was occupied from the second century BC to the seventh century AD.
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The dining room/bar area was likely refurbished in the 1950s. The third floor contains the lodge rooms, the lodge office, and storage spaces. The fourth floor contains a single large room. The lodge room is a rectangular area, with walls subdivided by stained wood pilasters.
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Marble pilasters have striking gilt capitals. An inset, multi- colored marble star pattern adorns the center of the floor. Original aluminum and glass chandeliers hang from the painted and gilt wood-and-plaster coffered ceiling. Marble postal tables retain original lamps and inset cast-brass grilles.
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The walls consist of gypsum board and plaster. Fluted pilasters divide the upper portion of the walls. New elevated benches and witness stands were also added in 1998. The smaller, one-story courtroom contains plaster walls with wood wainscoting and bronze grilles, and a decorative plaster ceiling.
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The interior retains many original features and rich finishes. Marble floors and pilasters (attached columns) are found in the ornate entrance lobby. The coffered (recessed) ceiling is intricately detailed with rosettes. The interior wall contains an elaborate bronze screen that led to the original postal workroom.
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It is surrounded by a paneled enframement with an eared entablature that goes to the sill of the window above. Inside two pilasters frame the door and its long vertical sidelights. Above their decorated crosspiece is a transom. The door opens into the main block's central hallway.
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William Newton. The main school building was originally Highams Manor or Highams Park, and was built in 1768 by William Newton (1735–1790). The exterior has Ionic order pilasters and a polygonal roof lantern. Notable internal features include a stone staircase with a wrought-iron balustrade.
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It is also the largest commercial building in La Porte City. with The investors continued to own and manage the property until 1919. The two-story brick structure features a unified architectural design and late Victorian styling. Brick pilasters surmounted with pinnacles divide each of the units.
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The cornerstone was laid on October 30, 1745. The nave has a rectangular plan with five bays. The center bays have side doors with fanlights and the others have windows with fanlights. Brick pilasters flank the side doors and are at the corners of the church.
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The main entrance is flanked by sidelights and fluted pilasters and is topped by a fanlight. It was built for Elias Conwell, who operated a popular store at Napoleon. Note: This includes and Accompanying photographs. It was added to the National Register of Historic Places in 1979.
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The church was built mostly of stone, with some brick which was later stuccoed.Elmes, James. Topographical Dictionary of London, p.164 The east end of the church, in Lime Street, had a pediment and two pairs of coupled Ionic pilasters with a large window below carved festoons.
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Indo-Corinthian capitals are capitals crowning columns or pilasters, which can be found in the northwestern Indian subcontinent, and usually combine Hellenistic and Indian elements. These capitals are typically dated to the first centuries of the Common Era, and constitute an important aspect of Greco-Buddhist art.
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It was deemed to be a "superior example" of Greek Revival-styled churches in northwestern Louisiana. The church building "is styled to resemble a simplified Greek temple". Its front is pedimented, has a full entablature, and has corner pilasters. with a photo and two maps With .
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The one-story rectangular building includes two alcoves. A half-open portico faces northwest flanked by five carved wooden pilasters, two of them featuring ivory carvings. Part of the upper façade above shows what is left of an engraved frieze. Each alcove served a distinctive purpose.
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The interior has a nave with two aisles, separated by cruciform pilasters. The main artworks are a wondrously carved baptismal font from 1470–1474 and the Madonna delle Grazie by Matteo di Giovanni (1470). The campanile (bell tower) was finished in 1402, and restored in 1911.
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It was again made a parish church in 1844. The church has a classical sober stone architecture. The interior has a "Jesuit" style with a single span of and a vault that reaches . The facade has a large door surrounded by pilasters with Tuscan-style capitals.
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The front, originally a recessed full-width porch with freestanding columns, was enclosed to create more office space. The columns became pilasters. Inside, the upstairs courtroom was reconfigured into a north-south access and the bench was moved accordingly. These renovations cost $58,000 ($ in contemporary dollars).
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A 2-1/2 story cross-gabled ell extends to the rear, also with a chimney. The exterior is finished in wooden clapboards. The main facade is five bays wide, with an elaborate central doorway surround. Pilasters rise to a wide entablature capped by a broken pediment.
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The Walter K. Foster House is a historic house at 57 Central Street in Stoneham, Massachusetts. Built c. 1870, it is one of three surviving Italianate side hall entry houses in Stoneham. Notable features include paneled pilasters on the corners and ornate decorative brackets above them.
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The Arco del Granarolo (Granarolo Arch), completed in 1822, is surmounted by a marble balustrade and stands on two marble pilasters."Arco del Granarolo", Comune di Brescia. Retrieved 11 September 2012. In 1825, he completed the raised dome of the Duomo Nuovo designed by Luigi Cagnola.
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Umeå had an economic boom around the mid-19th century and the public buildings received much needed renovation. The town hall was fitted with white painted panelling and the facade had six Dorian colossal pilasters. In 1880 a telegraph station was moved to the town hall.
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Bronze lettering above the entrance identifies it as the Dobbs Ferry post office. The entrance centers the entire main facade. It is arched, with flanking wooden pilasters topped with dosserets and a denticulated (toothed) broken-bed pediment. The windows feature splayed brick lintels and capping keystones.
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The John Peirce House is also a 2-1/2 story wood frame structure, but it has a front-facing gable and three-bay facade, more firmly in the Greek Revival style. It has corner pilasters and a heavy raking cornice. It was built about 1835.
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The main dining room is on the seventh floor. It has several large arched windows, marble floor, walls entirely covered by dark wood paneling with flat and round column pilasters also of wood, and a high, flat gilded ceiling with a large fresco at the center.
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Construction of the church began in 1770, but was interrupted in 1792, and not restarted until 1833. The designs of an architect Bianconi were not complete until 1880. The facade was finished with an accumulation of pilasters; the roofline has statues by Belcaro.Lombardy Beni Culturali, catalog entry.
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The house shows a mixture of French Creole architecture and Greek Revival architecture. Exterior Greek Revival elements are its five-bay front facade, with center emphasis; six molded Doric posts and entablature of the front gallery; six matching pilasters along the front wall of the house.
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The stone of which the circular temple is made from is ashlar and consists of two steps leading to the inside area of the temple, which is surrounded by two pilasters, four Ionic colonnades and a round wall, all topped off by a cornice with a roof above.
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Chattooga County Courthouse, on Courthouse Sq. in Summerville, Georgia, was built in 1909. It was listed on the National Register of Historic Places in 1980. The courthouse has three pedimented Corinthian tetrastyle entrances; the fourth entrance, also pedimented, has just four Corinthian pilasters. It has a domed clock tower.
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The room's entrance is accentuated with pilasters and carvings. Over the doorway is carved "1914–1918" and above that is a winged flaming sword (a symbol of sacrifice) over a rising sun emblem. The room holds the Remembrance Flame that was first officially lit on 11 November 1995.
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The ground floor has rustication and the central projects is on the upper floors decorated with four Ionic order pilasters and is tipped by a reiangular pediment. The complex also comprises a side wing and a rear wing. All walls facing the courtyard stand in blank, red brick.
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The remains of the pilasters are in opus quadratum with small blocks of igneous rock. The cavea was made of basalt from Mount Etna, faced with marble. The external walls indicate a degree of carelessness in construction. The blocks are cut irregularly and seem to mostly have been recycled.
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The Lend-A-Hand Club was a three-story, brick, U-shaped building that was built over a raised basement. It was designed by Davenport architect Frederick G. Clausen in the Renaissance Revival style. It featured terracotta pilasters and cornice. Four decorative urns were located on the parapet.
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The house reflects the architectural characteristic of years 1900–1910, as far as early Modern architecture is concerned. The building block is massive, in that way it balances the symmetry with the opposite building. Both facades have a modest decoration but it is underlined by various components (pilasters, balconies).
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Mercurio Baiardo or Bajardo (active 1555–1574) was an Italian painter, active during the Renaissance in Parma. He was a pupil of Parmigianino. In 1568, he painted in chiaro-oscuro, figures for pilasters of the dome of the church of the Steccata.Parma, by Laudedeo Testi, page 86-89.
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It is flanked by two pilasters on each side and topped by large triangular pediment. The Lutheran City Church has no steeple, but a bell-storey. The aisleless church has a transept-like extension giving it a cruciform floor plan. On all sides of the church there are matronea.
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The building was built with yellow bricks with unadorned rectangular windows. The entrances were lined with red brick pilasters supporting a pediment roof. The roof was flat with a balustrade. A rectangular tower rises from the center of the building and is crowned with four arches supporting a dome.
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The church façade has eight pilasters over two stories, with empty niches. The interior is simple until the presbytery with a baroque main altar made of colored marble. The large wooden altarpiece has a painting depicting St Michael. On the counterfacade is an organ with a wooden balustrade.
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The company is owned by Christian Hincheldey og Stine Louise Alwén, fourth generation of the Hincheldey family. The shop in Kronprinsensgade is the eighth oldest shop in Copenhagen. The building is from 1805 and listed. Ionic order pilasters flank the three central bays on the first and second floor.
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A central aisle runs between two rows of original wooden pews. Full-height pilasters divide the walls into four bays. At the south end the walls are angled and filled with stained glass windows topped with a semicircular arch. A columbarium with bronze font is in the northeast corner.
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Many are characterized by flat rooflines, decorative brick moldings, and vertical pilasters. While all the properties have been modified to include modern storefronts, the upper facades are largely intact and retain their integrity. and accompanying map It was listed on the National Register of Historic Places in 2008.
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Deep entablature with pairs of Corinthian columns in antis to pavilions. four columned entrance portico, also in antis, the entablature topped by balustrade in front of attic. Above rises broad tower embellished with order of Corinthian pilasters and piers, arched niche and colossal figure sculpture. Stepped upper part.
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The brick structure measures . Its main facade features the suggestion of a pediment formed by the decorative brick frieze and the simple brick coping. Extending below it are four capped brick pilasters. The windows are all rectangular in shape and they each have locally quarried dolomite lintels and sills.
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They carry further dividing ledge. Above the ledge on lesenas abut Tuscan pilasters, which are part of the last rebuilt in Baroque floors. Former bell tower on the top floor was opened out four large semicircular windows crowned. The windows are lined with stucco shams with senior keystone.
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In return, Scofield would move his non-shared wall back , and enlarge his pilasters so they more closely mimicked those on the front of the Citizens Building. The two sides swiftly agreed to the compromise to avoid a ruling by the court which neither party would be happy with.
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View of the cloister. The construction of the cloister began perhaps around 1194, although other scholars assign it from 1214 onwards. Located northeast to the cathedral, it has a rectangular plan, measuring 47 by 46 meters. It has a large central courtyard and four galleries divide by pilasters.
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The columns at the corners of the portico are matched by pilasters on the front facade. The doorway has a broken arched pediment, full entablature, and engaged columns. Its transom and sidelights contain elaborate, colorful stained glass. Above the main entrance is a window with a shallow iron balcony.
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Van Millingen (1912), p. 113. The outer narthex is divided into five bays, the three central corresponding with those of the inner narthex. The central bay is covered by a central saucer dome resting on pendentives. It is separated by the two intermediate bays by columns set against pilasters.
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Bays are framed in pilasters, with a large round-topped window in the center of each. The roof is low-pitched, largely hidden behind a brick parapet. The style is influenced by Zopfstil, a German counterpart of the American Federal style. Initially, it did not have a steeple.
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28 Lafayette (c. 1834) also has a doorway with sidelights, but it is flanked by pilasters. Across the street stands 23 Lafayette (c. 1834), which stands with its gable end to the street, unlike the other two, where the gable has a pedimental appearance made to look like stone.
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The edges of each bay are decorated with pilasters having Ionic capitals. The church has two bell towers, located at the upper tiers of the lateral bays. Each tower also includes a clock, found over the blank stonework of part of the façade. The church also has a dome.
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There are also recessed designs on the corner piers. The parapet is outlined with terra cotta stringcourses. The entrance portals and window bays are recessed and flanked by pilasters whose capitols feature a palmette design. The interior features marble teller windows and a marble urn in the corner.
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In 1851 the completed two-story wood-frame structure rising to a dome. This courthouse burned in a fire in 1864 forcing the county to hastily plan a new second courthouse. This second courthouse was constructed out of brick. The facade was punctuated by pilasters separating the arched windows.
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The Edwin W. Marsh House is (or was) a historic house at 17 Marsh Street in Quincy, Massachusetts. The 1-1/2 story five-bay wood frame house was built c. 1851, and had a rear ell. The Cape style cottage had vernacular Greek Revival styling, including corner pilasters.
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At the north end is the raised pulpit, in a niche between paired pilasters below a semi-circular pediment. The stairs to the choir loft have S-curved newels at either end. The wooden Gothic Revival case for the church's original pipe organ is along the loft's south wall.
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The upper-floor bays have round-arch windows articulated by brick pilasters. Building corners have brick quoining, a dentillated cornice, and a low balustrade on the flanking end wings. The school was constructed in 1895 in response to rising enrollments. It replaced a three-room schoolhouse, built c.
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The seven-bay north (front) facade features limestone voussoirs crowning each window. The end bays project slightly and are set off with large pilasters. The ground floor is rusticated. Limestone string courses are above the second and fourth stories, with a plain entablature and overhanging cornice at the roofline.
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The west end is the entrance front, and is in three bays separated by rendered pilasters. A flat-roofed porch projects from the central bay. The lateral bays each contains a round-headed window with two lights and a round light above. The baptistry is lower than the church.
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The pilasters are flat and plain. The pediments are unbroken. The interior of the church has a gilded barrel vaulted ceiling, supported by great marble columns. What is unusual in the Sicilian Baroque tradition here is that the columns do not support an arcade, but a flat entablature.
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Nelson School is a two-story building with a square footprint. It has red brick walls over a raised foundation of limestone blocks. The front façade has three distinct bays set off by pilasters. The central bay is slightly recessed with an oriel window jutting from the second story.
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A 1.5 story wing extends from each side of the main block. The corners are trimmed with pilasters, and the windows are tall, 3x4 panes. The house is clad in clapboard. A tall masonry chimney rises from the central block and one from the end of each wing.
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The front entrance is flanked by pilasters and topped by a full entablature with an architrave, frieze, and egg-and-dart cornice. Pedimented dormers project from the slate hip roof on all four sides. The house was added to the National Register of Historic Places on December 7, 2010.
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All of the walls are paneled with walnut which is set in panels between pilasters. At the top of the wall is an architrave with triglyphs. The ceiling is plaster and has a fret work plaster cornice. The judge's and clerk's desks are walnut with applied classical detailing.
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The three-story building has a projecting center and ends. The facade is lined with decorative stone elements along the window and door trims and pilasters. The stone foundation is windowless and contains a water table. The first floor contains long rectangular windows with triangular pediments crowning each window.
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The size of arches increases towards the central arch, which is the largest of the five arches embellished with beautiful ornamentation. The spandrels of the arch are decorated with medallions and ornamentation. Fluted pilasters exquisitely decorate the central arch. The prayer wall on the west has niches with mihrab.
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The sanctum has a ceiling in the form of a large blossoming lotus. The temple has a finely carved shikara(pinnacle) above the sanctum. The superstructure has been described as a latina and the pinnacle is a phamsana. The entire superstructure is supported by six pillars and two pilasters.
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Directly above the front doors is a smaller concrete panel inscribed with the word "Welcome". The east and west walls each have six fieldstone pilasters. Windows are narrow and filled with glass brick. A garage door at the northwest corner allowed for storage of Grey Eagle's firefighting equipment.
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It features a wide frieze and prominent corner pilasters. Also on the property are a contributing barn, a garage, a shed, and a machine shed. The property was covered in a study of Boss Jones TR It was listed on the National Register of Historic Places in 1984.
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The staircase hall has an open timber roof, and contains a cantilevered staircase and a first floor gallery. The dining and drawing rooms have moulded timber ceilings and contain marble fireplaces. The rooms are divided by an 18th-century wooden screen with Corinthian pilasters. columns and an entablature.
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The main entrance is flanked by slender pilasters and a slightly projecting pediment. The tenant house was constructed in the 1780s and is a -story, altered saltbox-style residence. Also on the property is a contributing barn. The property was covered in a 1984 study of Duanesburg historical resources.
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The LeFlore County Courthouse, on Courthouse Square in Poteau in Le Flore County, Oklahoma, was built in 1926. It was listed on the National Register of Historic Places in 1984. It is a three-story yellow brick building. Large windows on its front are separated by brick pilasters.
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In the northeast corner is another bedroom. Its windows begin almost at floor level. There is also baseboard molding and a ceiling cornice, but its main decorative element is the mantelpiece. It is a simple Greek Revival design, with simple pilasters on each side supporting a rectangular entablature.
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The facade is decorated with pilasters. The high windows of the waiting room have semicircular upper parts. The central colonnade is similar to architectural decision at the railway stations in Simferopol and Sochi. In connection with deepening of Ukrainian political crisis intensity of railway communication with Ukraine declined sharply.
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The walls in the lobby are clad with marble, and contain marble pilasters topped by Corinthian capitals. On the lobby's eastern wall are the five remaining elevators, with stainless steel doors. The lobby's ceiling is made of plaster beams with overhanging lighting fixtures. Four commercial spaces abut the lobby.
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The pilasters are banded, small framed windows above the ground- floor, volutes prop above the entrance, and curved scrolls above the windows. The palace remained property of the Bentivoglio family until the 19th century. For a time, it housed a tribunal in Ferrara. It now has private offices.
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The Melgar de Fernamental Town Hall is located in Melgar de Fernamental, Spain. Placed in the center of Spain Square, it is built in plateresco style. Its reduced arch front gate is flanked of pilasters, crowned with a central balcony accompanied of columns. Likewise, it presents coats of arms.
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De Rohan Arch is built in the neoclassical style. The archway is flanked by rusticated Doric pilasters set on a plain pedestal. The arch is topped by a triangular pediment having moulded edges. A Gothic designed niche, containing a portrait of the Ecce homo, is located within the arch.
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It features Georgian corner pilasters, pedimented dormers, wooden belt courses, an Adamesque-style cornice with dentils and decorative modillions, and an elliptical fanlight. The porch features columns in the Doric order and a plain dentilled cornice. The house was listed on the National Register of Historic Places in 1986.
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The First Baptist Church of Grand Blanc is a rectangular plan gable end structure, three bays wide. The front facade has a central double door entrance flanked with pilasters. and topped by a full entablature. On either side are stained glass windows; more windows line the side facades.
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The floors are covered in gray terrazzo set within a gray marble border. The marble extends up the wall to form wainscot. Above the wainscot, the walls are covered with plaster and feature pilasters similar to those on the exterior. A dentil (rectangular block) course encircles the lobby.
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At each corner and in the centre of the principal elevation, pavilions jut out terminating the colonnade. The pavilions are enriched with rusticated columns and pilasters. The central pavilion addressing Queens Park is surmounted by an open segmental pediment. This pediment supports an allegorical sculpture depicting agriculture and mining.
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Walls are also clad in marble with molded door and window surrounds and fluted pilasters. Built-in marble benches are below windows. The pale marble is St. Genevieve Golden Vein and the darker marble is Verde Antique. Elaborate plaster coffered ceilings glazed a rich golden brown top the space.
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The building has an inter- floor cornice. The three right narrow windows are decorated with pilasters, rectangular sandricks; a triangular pediment and an attic stand out above the windows. The facade of the building is plastered, its side walls are lined with red brick.Глазычев В. Л. Архитектура. Энциклопедия.
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Although modified during the 1930s, the lobby remains a significant interior space. The terrazzo flooring forms a checkerboard pattern. Marble pilasters, baseboards, and wainscot and aluminum doors, grilles, and postal service windows are present. The two-story district courtroom has a low-relief plaster ceiling with a simple border.
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The contract was awarded to Orlando Boughton and was designed in the Classical Revival style. The amount was $13,325 and construction was underway. The courthouse was two stories tall and was built out of brick and stone. Pilasters lined the facade between the long windows with dark shutters.
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Wooden side altar of the Annunciation of the Blessed Virgin Mary, 17th century. The temple is three-nave two-towered basilica without apse with a transept. The main facade with two towers on the sides decorated with rich plastics: pilasters, engaged columns. The interior covered with barrel vaults.
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Gump House is a historic home located near Garrett in Keyser Township, DeKalb County, Indiana. It was built about 1854, and is a two-story, five bay, Greek Revival-style frame dwelling. It has Doric order corner pilasters and a wide frieze. Note: This includes , and Accompanying photographs.
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The curvilinear shape of the pediment serves as a graceful finish to the upward movement of the pilasters and the arch entrance. The blind niche, urn-shaped pinnacles and even proportions-overlooking at the top are decorative devices of the upward movement."Sta. Maria Church, Sta. Maria Ilocos Sur.JPG".
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Masonic Temple The Masonic Temple built in 1894 at St. John's, Newfoundland, Canada is an example of Victorian construction which includes pilasters, free- standing columns and multiple pediments. The Masonic Temple was designated a Registered Heritage Structure by the Heritage Foundation of Newfoundland and Labrador in April 1995.
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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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The entrance is framed by pilasters, and a transom window with cornice above. The trim is all white marble. The building is not architecturally distinguished. Plaque on the former home of Thomas Sully in Society Hill, Philadelphia, Pennsylvania The house was built in 1820, with subsequent construction in 1860.
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In the middle of the east (front) facade is a five-bay projecting portico. Six round fluted Ionic columns support a pediment with plain entablature. On the building itself 12 square smooth Doric pilasters divide the bays. Above the main entrance is a relief of the state seal.
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The addition is nearly indistinguishable from the original. The two-story main banking room in the interior is surrounded by arched colonnades. The colonnades are divided by Ionic pilasters. The second floor occupies the upper portions of the arches and frosted glass allows light to pass between the spaces.
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Above it rises a two-stage tower. The first stage of the tower is a plain square, topped by a railing. The slightly smaller second stage houses the belfry, with louvered openings and corner pilasters. It is also topped by a railing, with a slender steeple capping the structure.
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A Visigoth relief and two Visigothic pilasters was also discovered. As the most of the Mudéjar churches in Toledo, it presents a simple aspect. Its main entrance, unique in Toledo, in of Almohad style bearing uncommon small green ceramic in columns on the door. The capitals are Visigoths.
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The entrance is flanked by pilasters, a Greek Revival element; the style was still popular at the time, and its presence reflects the transition between Greek Revival and Italianate as popular American architectural styles. The house was added to the National Register of Historic Places on November 8, 2000.
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Although originally a saat-mahala house the most intact of the remaining spaces is the courtyard with the thakurdalan. A saat khilan thakurdalan with multi-foliate arches supported on pairs of squared pilasters. Pairs of columns with plain shafts rise up between the arches to support the entablature above.
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Accessed 2013-11-28. The third floor balcony is reached through French doors (framed with slit windows) as well. It features a low balustrade of turned granite interrupted by pedestals, which are decorated with variegated marble panels. The placement of the pedestals mimics the pillars and pilasters below.
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The church is first mentioned as belonging to Frati Minori in 1289. The church with a bicolored (travertine marble and pietra serena) facade has a rose window in the center. The rounded portal is highly decorated with spiraling pilasters. The apse has a series of vaults with Gothic tracery.
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The church is constructed in hammer-dressed calciferous sandstone with an ashlar plinth, pilasters and eaves. The roof is in green slate. Its architectural style is Neoclassical, and the design is based on that of St Paul's, Covent Garden. The tower and portico are at the east end.
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A two-story wing, also mansard-roofed, projects from the west. The main entrance is elaborately decorated with an elliptical fanlight, keystone and pilasters with architrave trim and sidelights. It opens onto a wainscoted central hallway. The rooms have original mantels, two in marble and one carved in Adamesque.
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In 1906 an onshore building was opened by Princess Helena within a site. The School was built by Edward Gabriel in 1905, at a cost of £30,000. It had three storeys with four storeys in the central tower with a basement. The building was fronted with Ionic pilasters.
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In the upper section the Ionic pilasters around the mullioned window are fluted and delicately ornamented. And with the table that surmounts it, the composition imparts a refined sophistication. Thus, Dominique Bachelier was able to offer the owner a complete composition which evoked both power and a delicate erudition.
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The main entrance, framed by stylized pilasters, leads to a central hall that goes all the way to the back of the shed-roofed addition. The interior has been stripped for repair work, but original pieces included a mahogany balustrade on the main stairway and a black marble mantelpiece.
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The two-storey stone building has slate roofs. The five-bay old house which now forms the west wing has rusticated quoins and pilasters and a frieze at the doorway. There are sash windows. The west front, which now forms the entrance, has a projecting porch with a pediment.
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The right wing originally contained a children's room and a reference room. The children's room contained books and magazines aimed towards children, as well as chairs and tables of varied sizes. The children's room has a wooden floor. The walls contain oak paneling, as well as columns and pilasters.
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