Much of the interior is original, including molding, medallions and other plasterwork.
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They now have wires strung along the wall instead of behind the plasterwork.
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All three agreed that the original windows, woodwork and plasterwork should be preserved.
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I loved the plasterwork but David wanted us to love the home's spectral inhabitants.
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Just before "Hamilton" opened for previews, water seeped into the plasterwork of that theater's auditorium.
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"If your plasterwork is structurally intact, patching may be possible to repair holes," he said.
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The grand ballroom features many Federal-style details including the plasterwork, the woodwork, and the fireplace.
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The team also saved most of the original plasterwork and a balcony dating back to the 1920s.
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Restoration was also done to the woodwork and plasterwork and to artistic details found throughout the property.
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Repairing millwork and plasterwork can be costly, but Mr. Mailaender found ways to save money there, too.
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Six large and one small, they reflect light onto all the details of the refurbished Victorian plasterwork.
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Though the chandeliers and brass sconces were salvageable, decorative plasterwork crumbled when work crews tried to remove it.
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Doors are painted with floral designs, and delicate plasterwork decorates the walls and ceilings, where chandeliers once glowed.
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One of Lucknow's finest buildings, the Chhota Imambara (pictured), was recently "repaired" with modern cement, wrecking its subtle plasterwork.
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There were encrusted mantle pieces, delicate plasterwork and stippled floral wall coverings spread across its more than 333,000 square feet.
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I finish with a few more circuits making sure to take in the beautiful woodwork and plasterwork they've done around the pools.
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The home's plasterwork and woodwork are prime examples of Federal Era design, Richard Marks, president of Richard Marks Restoration, told Handsome Properties.
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Its ornamental plasterwork and faux marble pillars were refurbished and replaced along with some 200 original artworks, including paintings by Picasso and Klimt.
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Neo-Classical in style, the mansion has 10 bedrooms, and the interiors are rich in period detailing, including ornate plasterwork, parquet flooring and painted paneling.
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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 shift from hunter-gathering to sedentary life produced the first villages, is symbolised here by a monumental, 8,500-year-old plasterwork statue with two heads.
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The interiors have original aspects, such as elaborate plasterwork and decorative arches, although a large rear extension is more recent, as is much of the décor.
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The complex is incredible — every wall is a mix of tile and plasterwork with hand carved intricate designs and the ceilings are covered in beautiful woodwork designs.
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The intimate room with an open kitchen and elaborate plasterwork now has Zenlike appeal, with natural wooden fittings and furniture by the Pennsylvania workshop of George Nakashima.
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The shift from hunter-gathering to sedentary life produced the first villages, symbolised here by a monumental, 8,500-year-old plasterwork statue with two heads, lent by Jordan.
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If your taste runs to ornate plasterwork rather than white-painted I-beams and faux-institutional furniture (designed by Alvar Aalto), consider joining one of those nearby clubs.
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Whether in the ground floor sitting roomor in individual bedrooms, the designers preserved as many period elements as possible, like the original pine floors and the Empire style plasterwork.
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The marks were scratched into the fabric of medieval walls, engraved onto wooden beams and etched onto plasterwork and thought to call on the protective power of the Virgin Mary.
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Unfortunately, years of water damage (from things like leaky steam pipes and overflowing bathtubs), paint jobs and inadequate repairs can cause sagging ceilings and rotting walls that often require new plasterwork.
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That means highly skilled wood strippers, plasterwork molders, carpenters, tile fabricators and floor restorers who are so well versed in their respective crafts that they can unearth, salvage and replicate just about any prewar architectural element.
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In the early 2000s, "There were no YouTube instructional videos," he reminds; he learned to create his own plaster moldings after befriending Kathy Vissar of the Philadelphia decorative plasterwork atelier Wells Vissar, who lent him her molds.
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Many of Plas-yn-Cwm's public rooms — including a sitting room, a drawing room, a dining room and a study on the ground floor — have 14-foot ceilings, as well as architectural details like intricately molded cornices, plasterwork, window seats and wood paneling.
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In Gowanus, a 2,193-square-foot, three-family brick rowhouse, with a deep backyard and three bright and thoughtfully renovated one-bedroom apartments with charming period details like pocket doors with stained glass, original pine floorboards, plasterwork paneling, decorative fireplaces, tin ceilings and bay windows.
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Each has interlocking terra cotta roof tiles, French double-shuttered windows evenly spaced across the facade, ornate garlands of molded plasterwork and sheltered "five foot" connected walkways — a feature to protect pedestrians from rain or hot sun that was called for by Sir Stamford Raffles in Singapore's first town plan in 1822.
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The drawing rooms contain fine Rococo plasterwork on both ceilings, and on the walls and the chimneypiece of the front room. Hartwell et al. describe the plasterwork as being "quite sumptuous and exceptionally delicate". In the staircase hall is a panel between the windows containing a bust of Diana, with decorative plasterwork including festoons and hunting trophies.
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The substantially intact and recoverable decorative plasterwork at Nelson Lodge is representative of the exuberance of plaster decoration in the 1850s in Australia. The different moulded styles of plaster decoration used throughout Nelson Lodge indicates the full extent of the technological developments of plasterwork prior to the introduction of the gelatin mould technique in 1858. The plasterwork is in reasonable condition and by virtue of being extant is an exceptional example of plasterwork of the 1850s in Australia. Nelson Lodge was listed on the New South Wales State Heritage Register on 2 April 1999.
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The lantern dome, used to admit daylight into the interior, in the library. A matching dome is in the dining room across the hall. The elaborate plasterwork in the ballroom. The interior features decorative plasterwork throughout the main floor.
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The pavilion is decorated with mural paintings, perforated woodwork, prismatic mirrors, tilework, and plasterwork.
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The plasterwork ceiling is finely decorated, and the barrel vaults are lit by elliptical windows.
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The hall has an impressive mahogany staircase decorated with carved heraldic beasts and intricate plasterwork.
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The Victoria Hall has mosaic flooring and ornate plasterwork. The hall was last decorated in 1996.
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The interior retains timber door surrounds and doors, fine plasterwork, and classical-style chimneypieces, some in white marble.
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Jane Fenlon. The Decorative Plasterwork at Ormond Castle: A Unique Survival. Architectural History, Vol. 41 (1998), pp. 67-81.
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The furnishings in the courtroom, including the chandeliers, plasterwork, beveled glass doors and stained glass work are all original.
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Both of May's rooms are embellished with ornate plasterwork, the hall also having a chimneypiece by John Michael Rysbrack.
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The building is located across the street from the Pere Marquette Hotel, also on the National Register. The theatre features an Italian Renaissance exterior and classical plasterwork on the interior walls and domed lobby ceilings. The lobby's terra-cotta plasterwork frames a triple- arched window above the marquee. The theatre closed in 2003.
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It is decorated with plasterwork, colossal pilasters and stylized keystones. The outer, two-storey elements stand out in particular, with the colourful-lettered REGAL logo adorning the façade. The building has a flat-roof structure. The floor of the foyer is decorated with terrazzo tiles, and the ceiling is decorated with plasterwork.
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Ornate plasterwork features throughout the house. Designed by Giuseppe Cortese, this use of plasterwork is especially prominent in the entrance hall, where the Rococo style predominates, and in the library, where the plasterwork illustrates fruit themes. In March 2015, unpublished photographs from the City of Leeds archives revealed that the panelling and mantelpiece in the study of Sutton Park had been imported from the Morning Room of Potternewton Hall, in Leeds, which was the ancestral estate of Olive Middleton. Olive was the great grandmother of Catherine, Duchess of Cambridge.
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The interior is noteworthy for its woodwork and exuberant plasterwork. It was listed on the National Register of Historic Places in 1985.
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In England, fine examples of plasterwork interiors of the early modern period can be seen at Chastleton House, (Oxfordshire), Knole House, (Kent), Wilderhope Manor (Shropshire), Speke Hall, (Merseyside), and Haddon Hall, (Derbyshire). Some examples of outstanding extant historical plasterwork interiors are found in Scotland, where the three finest specimens of interior plasterwork are elaborate decorated ceilings from the early 17th century at Muchalls Castle, Glamis Castle and Craigievar Castle, all of which are in the northeast region of that country. The craft of modelled plasterwork, inspired by the style of the early modern period, was revived by the designers of the Arts and Crafts movement in late-19th- and early-20th- century England. Notable practitioners were Ernest Gimson, his pupil Norman Jewson, and George P. Bankart, who published extensively on the subject.
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The yellowish color of the imitation marble blends harmoniously with the basic buff color of the decorative plasterwork, accentuated with touches of gilt.
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There are moulded beams and friezes with swag motifs, integral seating and other furniture, Art Deco lighting, decorative plasterwork and an original staircase.
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Plasterwork and fabrics readily absorb this moisture, so once the temperature drops, the humid air condenses leaving a foisty smell in the room.
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Exit doorways on the angled proscenium wings have elaborate art nouveau plasterwork particularly around the circular ventilators above the doors. The proscenium wings do not extend to the ceiling and their top edge which curves downwards to the side walls is accented with large plasterwork decoration which projects into the space above each wing. This plasterwork extends along each wall to the rear of the theatre with semicircular decoration above each doorway. There is an exterior door on the opposite side of the theatre to the vestibule and this door opens onto the grassed area beside the cinema.
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No expense was spared on the castle's interior, which was decorated with extravagant carvings, plasterwork and murals. Panels of medieval stained glass and Renaissance woodwork were incorporated into the scheme. Much of this decor still survives. Francis Bernasconi, acknowledged as the greatest designer of fine plasterwork of the era, created the magnificent central staircase, that connects all four storeys of the central tower.
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The interior of the house contains some ornate plasterwork on the ceilings by the Lafranchini brothers, who also collaborated with Cassels on Carton House.
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The interior includes panels with plasterwork decorations and a reredos with Ionic columns. There is a memorial to a soldier from World War I.
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Its interior has ornate woodwork and plasterwork that is in excellent condition. The building was listed on the National Register of Historic Places in 1977.
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The interior was a combination finish of marble, tiles and plasterwork. The Art Deco banking chamber, two foyers, corridors and lift lobbies are substantially intact.
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The pale colour of this encrusted plasterwork and the extensiveness of its use within the foyer (in combination with other elements such as mirrors), are the key reasons for the design style being described as Rococo. The long side walls are each punctuated by four blind balconies, set into the alcoves formed by the elongated ceiling groins. These balcony alcoves have low plasterwork balustrades at their base, tall mirrored panels on the flat wall behind and are capped by elaborate plasterwork canopies, from which red velvet curtains with a gold tasselled fringe are suspended. Below each blind balcony are mirrored panels with a darkly painted plaster border.
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The plasterwork inside is impressive, and similar to other work in Derby by Abraham Denstone the elder. The house also retains much of its original furniture.
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By 1996, only the building material wholesaler was still in business. There were, however, newer businesses by that time, a plasterwork company and a roofing business.
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The le Boteler/Butler family crest can be seen in plasterwork in St. Illtud's Church, Pembrey. The le Boteler estate passed to the Earl of Ashburnham.
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Most of the rooms are furnished with stained glass windows, inlaid wooden doors, and plasterwork. The house is now the property of a cultural heritage organization.
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The Art Deco features of this stunning apartment building include a grand galleried staircase, tall arched stained glass windows, unique ceiling plasterwork, and custom pendant lights.
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John Papworth did the plasterwork in the great Royal Academy Room; many of the ceiling paintings were removed by the Royal Academy when they vacated their premises.
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Although great care was taken in removing the plasterwork, there was no way to avoid cracking it during removal. Molds were made from the originals, and new plasterwork installed. Even so, architect Lorenzo Winslow simplified many of the designs before they were cast, allegedly to make them look less Renaissance Revival and more "American". Less care was taken in removing the woodwork, some of which was damaged when pried loose.
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The interior of the house is noted for plasterwork friezes. In the hall the fireplace mantel, which dates from 1629, bears the Luttrell coat of arms with soldiers on either side. It was created by two Flemish workers brought in by George Luttrell. They and their descendants stayed in West Somerset and are responsible for the plasterwork in all the great houses in the area, including Court House and Dunster Castle.
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The tools used to plaster walls Plasterwork is construction or ornamentation done with plaster, such as a layer of plaster on an interior or exterior wall structure, or plaster decorative moldings on ceilings or walls. This is also sometimes called pargeting. The process of creating plasterwork, called plastering or rendering, has been used in building construction for centuries. For the art history of three-dimensional plaster, see stucco.
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Much of the fine paneling and decorative plasterwork were lost. He died in 1930 and was succeeded in the title and estates by his son, Richard Yarde-Buller.
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The vestibule is painted in a light colour and around a mirror behind the splayed corner, above the doors, box-office windows and along the walls at the two metre mark is very decorative lighter coloured plasterwork in art-nouveau style. The plasterwork partially overlaps the top of the door entrances. The architrave plasterwork is simpler in style and the ceiling lighting has banks of four circular lights, each in a diamond pattern, edged with decorative plaster applique and separated by pairs of fluorescent tubes. The original candy bar is sited on a higher level at the rear of the vestibule with two doors on the rear wall giving access to the toilets.
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The decorative plasterwork of the landmarked lobby had been previously cut into numbered sections and removed to a warehouse. It is intended to install these in the new structure.
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The foyer has a white marble staircase at each end. The auditorium has a rear and side balconies, and a ceiling with decorative plasterwork and large Art Deco lamps.
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In this space, which preserves part of its original plasterwork decoration, there are showcases related to the daily life of the Sephardim: their birth, education, main festivals, death, etc.
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The building has been renovated; however, the process has been criticized. In 2016 The Economist wrote that "[this building] was recently “repaired” with modern cement, wrecking its subtle plasterwork".
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The Advocate, 16 April 1904, p. 12. The relatively austere composition of the factory front to Brunswick Street was transformed into a more elaborate yet restrained and dignified facade for the new purpose. The elaborate plasterwork of the hall ceiling, proscenium and balcony was seen by contemporaries as an aesthetic triumph. The plasterwork described as 'in the German Renaissance style' was repainted in shades of sage green, cream and buff in 1913.
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The main curved acoustic ceiling has an elaborate plaster pseudo latticework decoration reminiscent of the theatre ceilings of the early 1920s. On the lower curve above the walls this breaks into bands of different styles of plasterwork in vertical panels with the higher panels in a pink colour. Plasterwork extends over and incorporates air vents on the sidewalls. The cinema's original pelmet drapes in deep crimson and outlined in gold brocade are still in position.
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Built from limestone with rough stone walls, the house is dated to the 16th century but underwent alterations in the 17th century; much of the plasterwork is dated to 1640–1660.
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27–30 Parlour or "Spanish Room"Pevsner contains a highly decorated plasterwork ceiling with ribs and pendants and exceptionally elaborately carved woodwork. Above the paneling is a frieze of Spanish leather.
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The Vicarage is today isolated below the village although it was formerly in the village. It is a beautiful building from the 16th century with mullioned windows. The Town Hall is located in the former presbytery and contains a small but remarkable fireplace with plasterwork from the 18th century: a rare case of chimney plasterwork in a commoner's house. During the 19th century several mills were in operation on the shores of the Largue and the Aiguebelle.
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Shahshahan Mausoleum entrance plasterwork Shahshahan Mausoleum calligraphy on plaster According to the date of Shah Alaeddin's death, which was in the December 1446, the mausoleum was built between 1446 and 1448. Inside and outside of the mausoleum is decorated by plasterwork and tiling. The grave of Shah Alaeddin is in the middle with no tomb stone. All around the dome there are writings, including fourteen poems in Arabic that describe the event of the killing of Shah Alaeddin.
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On returning, the family lived for a short time in Brighton and Manchester, and by 1901 they had settled in Blackpool. It was during this time that Andrew's father had contributed ornate plasterwork to the Tower Ballroom designed by Frank Matcham. According to the 1911 census, Andrew had contributed decorative plasterwork to the Coronation Exhibition of George V. Andrew married Alice Fairclough (1887-1973) on 7 October 1912 at South Shore, Fylde, Lancashire. They had no children.
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Farnham Manor is a grade II listed house in Farnham, Suffolk, England. It is timber-framed and dates from at least 1602 based on a year marked on plasterwork in the house.
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The interior of the house has retained a great deal of integrity, with original woodwork, plasterwork, and door hardware. The house was listed on the National Register of Historic Places in 1995.
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The galleries were removed in 1902, followed by the internal plasterwork in 1929. The interior of the church was partitioned in 1973 to make rooms in two storeys at the west end.
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In 1969, the stonework was cleaned by abrasive blasting. The plasterwork in the dome was repainted in 1973/4. The entrance hall was restored and adapted in 1993, and a new chimneypiece installed.
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On the landing, a huge stained glass window traces the Cooper family tree from Victorian times back to the time of King John. The dining room is decorated in Louis Philippe-style plasterwork.
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Franks Hall in Horton Kirby, Kent, () is a large Elizabethan country house, completed in 1591.The date 1591 in incorporated in a plasterwork ceiling The Grade I listed building remains a private house.
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The interior of the house featured some of the most elaborate woodwork and plasterwork in the state. Other features of the house were an impressive walnut staircase, double parlors and Italian marble mantles.
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The building features fine joinery, well crafted plasterwork and well proportioned internal spaces. The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.
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Grilles were added for decoration and to house acoustics, with lighting largely concealed behind plasterwork. Renovation work in 1999–2000, while adding substantial new areas to the building, retained original plasterwork in the largely untouched upper auditorium. The foyers, circular staircase and upper lounge are also largely original. Due to the significance of the cinema, restoration was undertaken in consultation with Heritage Victoria and the Melbourne-based Art Deco & Modernism Society (ADMS) to ensure the fabric and quality of the original architecture was maintained.
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The existing structure is believed to be the fourth or fifth built on the site. In 1724, Nicholas Leke, 4th Earl of Scarsdale commissioned the building of a design by architect Francis Smith, to develop a Georgian mansion with gardens, using parts of the existing structure. On a scale and quality with Chatsworth House, internally it featured both oak ornamental panels and stucco plasterwork by Italian craftsmen Francesco Vassalli and the brothers Giuseppe and Adalberto Artari;Geoffrey Beard, Decorative Plasterwork in Great Britain, 1975:56f. et passim.
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One of the most interesting castles of northeast Scotland, according to noted architectural historian Nigel Tranter, it is designed in the classic L style with a further extension wing at the west end. Muchalls Castle entered national history in 1638 when a seminal Covenanter gathering took place here precedent to the English Civil War. The plasterwork ceilings of the principal drawing rooms are generally regarded as among the three finest examples of plasterwork ceilings in Scotland. These adornments date to 1624 and are in virtually perfect condition.
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The Chinese drawing room has a splendidly rich ceiling and an 18th-century fan-vaulted oriel window. The walls are hung with Chinese wallpaper depicting birds amidst bamboo. The chapel is magnificent with superb 17th-century plasterwork.
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He is thought to have been influenced by Richard Boyle, 3rd Earl of Burlington, his patron. He also used Rococo plasterwork, and some Gothic details in buildings such as Hylton Castle and Gibside Banqueting House in 1751.
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The three-storey, three-bay limestone front of the building is topped with a cornice and a baluster parapet. The rococo plaster of the staircase was added by William Stocking. There is extensive plasterwork throughout the house.
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The door is surrounded by an archway in relief plasterwork featuring moulded panels of two alternating types of crosses. Within the base of the tower is a curved cantilevered concrete stairway which gives access to the upper levels.
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A flat-roofed porch was added in 1859–1864. The interior retains elaborate plasterwork decoration and a nearly intact series of original box pews. It is the oldest surviving independent chapel in Lincolnshire with its original seating intact.
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The interior features high quality woodwork, plasterwork and tile. Day House The house was designed by Francis H. Kimball, and was built for Franklin Chamberlin and completed the project in 1884.Sterner, Daniel. A Guide to Historic Hartford, Connecticut.
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In the upper floor, the southwest room is decorated in Chinoiserie, including pagodas, trellises and birds. Both Hartwell et al. and de Figueiredo and Treuherz argue that the plasterwork must be by Francesco Vassilli, who had worked elsewhere with Gibbs.
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The building is a town house built around 1704 for Edward Wagstaffe. The house is notable for its fine Rococo plasterwork and carved oak staircase. Robert Raikes junior, founder of Sunday Schools, was born at Ladybellegate House in 1736.Heighway, Carolyn.
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The blue-and-white tiles on the wall are arranged in hexagons and triangles in the Bursa manner.Davis, pg. 267 Some show delicate patterns of flowers, leaves, clouds or other abstract forms. The white plasterwork is in the Persian manner.
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Layers of peeling paint have been removed. The mouldings and plasterwork had been expertly repaired. Analysis has been carried out on finishes original to the property. This information can be used to recreate decoration in other parts of the project.
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Corinthian columns and a balustraded balcony over the entry add a classical feel. The interior of the club features classical plasterwork, dark oak paneling and Pewabic tile. The club also offered fine dining, a tavern, card rooms, bowling alley and lounges.
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Extensive use was made of decorative plasterwork and the restoration of the plasterwork which has been painted to show the original colour at Plas Mawr in Conway gives some idea as to how this would have appeared. Where expensive wallhangings or tapestries could not be afforded, extensive painted imitations would be used. Wooded panelling and armourial carving still survive in some houses, often over fireplaces. A carved panelled room has been returned to Gwydir Castle and a carved over-mantle at Faenol Fawr records the building of the house in 1597 with the armourials of the Lloyd family.
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The details of the tracery and mouldings are late 13th and early 14th century English Gothic. There is a small gallery over the chapel, originally designed to enable invalids from the infirmary to hear Mass. The chapel is covered by a high wooden roof Many of the sanctuary furnishings are believed to have been designed by Blackett in the 1860s, including the Blessed Sacrament shrine, which is made of Bondi Gold sandstone, the tabernacle, cedar choir stalls and pews. The walls of keyed sandstone were originally covered in plasterwork with Pugin-like decoration, but the plasterwork was completely removed in 1963.
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The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by Joseph Rose, Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end. The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace.
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An extensive use was made in the interior of decoratively carved cabinetry, oak moldings, decorative plasterwork, and one of the Deep South's first uses of ornamental stained glass. The stained glass is believed to have been produced by an early American ornamental stained glass company, that of Henry Sharp and Company of New York City. It was featured in the arched transom and sidelights of the main doors, as well as the large arched window over the main staircase landing. The glass was destroyed by vandals in the 1950s, as was many of the plasterwork ceiling medallions.
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The E-shaped plan, of which the central range had been doubled in depth in the seventeenth century, was retained. Campbell presented a plan for the south elevation, which was modified in the execution, but he was principally involved in remaking the interiors, where his presence is commemorated in the stucco portrait bust of him in the soffit of the bay window at the south end of the Gallery, which is the sole surviving contemporary image of the Scottish architect; the plasterwork is associated with the "three Germans" alluded to in the correspondence from Lord Wilmington's gardener William Stuart, one of whom is thought to have been the Anglo-Danish stuccator Charles Stanley.A Danish biography of Stanley written by A.F. Busching in 1757 notes he worked in England for almost twenty years (1727-46) and, among other patrons "with fame for My lord Willington in Eastbourne, Sussex" (quoted by Geoffrey Beard, Decorative Plasterwork in Great Britain, 1975:59. The London plasterer John Hughes supervised the plasterwork.
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A plasterer is a tradesman who works with plaster, such as forming a layer of plaster on an interior wall or plaster decorative moldings on ceilings or walls. The process of creating plasterwork, called plastering, has been used in building construction for centuries.
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1400 and has one bell. There is a statue of Saint Andrew in a niche above the transept which dates from the Medieval period. The statue only survives because it had been screened with plasterwork to hide it. It was rediscovered in 1871.
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The Chequer Inn is timber-framed. The western half is a Crown post cross wing. The heavy sooting, seen on a plastered division within the roof is often an indication of a mediaeval open hall. Some decorative, combed plasterwork can also be seen.
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The west wall is panelled, and the other walls have ornate plasterwork. In the ceiling is an oval panel containing guilloché and a central rose. On the north, south and west walls are hatchments. In the west gallery is a two-manual organ.
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The theatre has been restored to its 1913 glory, with the original mouldings and intricate plasterwork having been repaired or replicated. The interior of the Imperial has been faithfully re- created. The Imperial has been designated a National Historic Site of Canada.
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Jean Perzel designed the lamps. Other refined aspects of the Villa's interior decoration include the blue limestone and exotic hardwood floors; the marble-lined bathrooms, with stone-carved bathtubs; the geometric patterns of the plasterwork; and the curved form of the library staircase.
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The majority of the original interior is extant, and is a mixture of Gothic Revival and Neoclassical styles. The principal rooms contain both Gothic Revival and Neoclassical fireplaces and decorative plasterwork. The entrance hall features a plaster vaulted ceiling, with wheel-shaped ceiling bosses.
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The mint’s construction started in 1598 and ended in 1625. The interior decorations consist of ochre plasterwork and brickwork. The building has a tall dome crowned by a cupola to admit light and vent air. The mint was converted into a numismatics museum in 1970.
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As the dispute continued, the house was deteriorating rapidly. Valuable interior fittings such as chimney-pieces were removed. Lead was stolen from the roof, which led to damage of the plasterwork. Roches Stores were reluctant to spend money protecting a building they wanted demolished.
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Elsewhere, the exterior is faced in white faience, which has now been painted white and grey. The faience was produced by Gibbs and Canning of Tamworth. Inside, the auditorium consists of two tiers, a balcony and an aisle. It is highly decorated with plasterwork.
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They were designed as plain and dignified with little decorative plasterwork and austere fireplaces. The original bathhouse had extensive facilities set in the basement under the adjacent terrace; marbled walls and encaustic tiled floors in the stair area are indicators of the original opulence.
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The lobby floor also hosts the Crystal Ballroom, which is known as "Mobile's First Harvest". At one time it was the hotel's restaurant. The room has been restored to vintage colors, as it was in 1908. It features ornate plasterwork with an agricultural theme.
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The interior is divided on both floors by a central hallway. Several rooms feature decorative plasterwork. The house and grounds were surveyed in 1935 and 1936 by the Historic American Buildings Survey. It was added to the National Register of Historic Places in 1984.
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Capriccio with a view of Mereworth Castle. Francesco Zuccarelli and Antonio Visentini, 1746. Mereworth Castle is a grade I listed Palladian country house in Mereworth, Kent, England. This source attributes the plasterwork to Francesco Bagutti, but Giovanni Bagutti would appear to be more likely.
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Throughout there is spectacular Rococo plasterwork and Dashwood provided fine new woodwork for the church, including Mahogany stalls for the clergy. The architect of all this work is likely to have been John Donowell who was working for Sir Francis Dashwood at West Wycombe Park.
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The current synagogue building at 118 West 95th Street (constructed in 1926) is noted for its Moorish Revival architecture. Designed by architect Charles B. Myers, the interior features magnificent Mudéjar style plasterwork. The building was listed on the National Register of Historic Places in 2017.
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At Gregynog, a room has been re-assembled with the insignia of the ancestry of the Blaney family. At Plas Mawr seven rooms still possess elements of their original plasterwork, which Peter Smith has described as the most perfect and the most complete memorial to Elizabethan Wales, and their original wooden carved panels that line the walls.; ; The plasterwork includes extensive heraldry, badges and symbols: in the upper north range alone, 22 different heraldic emblems are moulded into the ceilings and walls. The gatehouse shows the royal arms, as do the great chamber and the parlour, probably because they were intended to host senior guests.
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There are a number of crow-stepped gables associated with large chimneys at building endpoints. The castle itself is an A listed historical building; however, there are three further listed structures on the castle grounds, including a fine stone stables and a 17th- century dovecote. The next level includes most of the principal reception rooms, including the Great Hall, the Ladies' Drawing Room and the Gentlemen's Study. These reception rooms are the main locations of the elaborate plasterwork; in fact, the ceilings of these three rooms are totally covered in original 17th-century plasterwork with heraldic coats of arms, biblical figures and other historical figures.
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Cast-iron balconies run around the courtyard on every level. Rooms facing the courtyard have french doors opening onto these balconies. Two wings containing toilets and washrooms project into the courtyard space. The building has restrained rendered and painted interiors that feature cedar joinery and ornamental plasterwork.
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The Town Hall is found in a former school from 1829. It is built with Late Classicist plasterwork with flèches. Rheinhessische Weingewölbe (“Rhenish-Hessian Wine Vaulting”), that is, a cowshed with vaulting resting on columns, from the mid 19th century can be found at Eimsheimer Straße 11.
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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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It contains a mahogany four-flight staircase. The staircase has triple balusters, and was carved by Shillito. Afain the plasterwork is by Oliver. More family portraits hang on its walls and the hall's contents include a hobby horse, a man trap, and an 18th-century sedan chair.
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The grounds contain mature trees and tennis court. The spacious entrance hall has a staircase with cast iron balustrading. The ground floor contains large and lofty reception rooms and a dining room in the northern wing. The joinery is of cedar with restrained plasterwork mostly original.
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The verandahs are sandstone flagged with some concrete sections. The eastern verandah has been extended to match the original. Internally much original joinery survives, including six panelled doors and elaborate skirtings, but has been painted. Some marble fireplaces and some plasterwork survive, though substantial alterations are evident.
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Buffet dinner tables for 400 and balcony tables for 100 were added. The backstage area was remodeled, and the balcony was restored back to its original shape. Exterior drainage was improved. The degraded ceiling plasterwork was repaired and repainted, the roof was replaced and wiring were upgraded in 1988.
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Much of Carr's "loops and bows" plasterwork had survived, and this, coupled with a fireplace and doors salvaged from Panton Hall and very similar to those which crossed the Atlantic, allowed the room to return to its original neoclassical form.Pugh, p16. The Kitchen was originally in the North pavilion.
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The plasterwork of John Cheere's yard in London was particularly in demand. Also important was the work from the yard of John Bacon (1740–99) who produced a monument for Robert Dundas (d. 1787) at Borthwick Church and one for Mrs Allardyce (d. 1787) at West Church, Aberdeen.
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There is moulded plasterwork to the curved balcony fronts and elliptically bowed balconies to the boxes, which are situated in round arched openings with giant fluted Corinthian columns. The circular auditorium ceiling is decorated and has a small rectangular dome to centre. There is a rectangular proscenium arch.
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A life-size sketch of a classical fireplace was also revealed on the plasterwork behind panelling over an existing fireplace.RCHME Newsletter 9. Spring 1993. ISSN 0957-0241 In 2019, after 62 years of ownership by the family, Patrick Cooke retired and the house and estate were listed for sale.
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The church undertook the second phase of a restoration project in 2013 and was closed from March till September. The main part of this work was to replace plasterwork which has been significantly damaged over the years by damp and modern repair and to restore the arcades stonework.
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The ground floor has a main cross passage, post-and-panel decorated partitions and beamed ceilings, which probably date back to the sixteenth century. The Elizabethan decorative plasterwork is particularly noteworthy; it includes various heraldic badges and emblems, the initials of Queen Elizabeth I and also of Maurice Kyffin and his wife, and the year 1582 appears more than once. The badges and emblems are similar to those found on plasterwork in Plas Mawr, Conway and the fragmentary plaster remains still to be seen at Gwydir Castle, Llanrwst, and indicates that the same craftsman was used in all three properties. The gardens of some are on slightly sloping ground and surrounded by woods where bluebells flower in spring.
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The dining room plasterwork showcases pink camellias, Emily Randolph's favorite flower, and is the only plasterwork in the house to have color. The main staircase of Honduran mahogany is covered in green velvet and ascends to the Ancestral Hall on the third-floor. The hall was used by the Randolphs as a family parlor, being a central thoroughfare to many of the adjacent bedrooms, and gave access to the third-floor gallery with views of the Mississippi River. Nearby, is the master bedroom, with one of the three original bathrooms, as well as a small room that was used as a nursery for Julia Marceline, the Randolph's last and only child born at Nottoway.
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In 1761, Viscount Fairfax employed the Yorkshire architect John Carr to remodel the house at 27 Castlegate. The work was completed in 1765. The interior has some of Yorkshire's finest mid-C18 plasterwork by James Henderson (fl. c. 1755–1778) and Giuseppe (Joseph) Cortese (fl. c. 1745–1778) and carved woodwork.
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The bazaar is located in southern part of Ganjali Square. Inside, the bazaar is decorated with exquisite plasterwork and wall paintings and although they are 400 years old, they are still well-preserved. The bazaar is 93 meters long and is connected to Ganjali square through 16 iwans and vaults.
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Eye Manor, Eye, Herefordshire, England is a Carolean manor house dating from the late 17th century. It was built for Ferdinando Gorges, descendant of the founder of the Province of Maine, and a trader in slaves and sugar. Noted for its interior plasterwork, the house is a Grade I listed building.
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Tyack noted the "lively Rococo plasterwork" of the flat ceiling.Tyack, p. 165 In the early 19th century the east and west sides of the hall were crenellated, and the roof was re-slated. A clock was installed on the external wall of the hall in 1831 by the principal Henry Foulkes.
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Plasterwork is applied to the exterior walls. Later, the station underwent some structural changes. Originally it had a wooden porch, which was dismantled in the meantime. The main building is connected by a loading ramp to a freight shed, which was built with the slope of its roof facing the track.
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Girih patterns have been used to decorate varied materials including stone screens, as at Fatehpur Sikri; plasterwork, as at mosques and madrasas such as the Hunat Hatun Complex in Kayseri; metal, as at Mosque-Madrassa of Sultan Hassan in Cairo; and in wood, as at the Mosque–Cathedral of Córdoba.
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During its use it was furnished with a gallery running around it, featuring vases, books and busts of historic figures including; Shakespeare, Milton, Locke, Bacon, Homer and Virgil. By 1841 the library had upwards of 30,000 volumes. Entered from the North West, the lower floor has Edwardian style plasterwork and woodwork.
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Designed by Greenley, the ornate ballroom featured Renaissance-inspired murals and reproductions of famous paintings, along with intricate woodwork, marble mosaic floors, ceiling murals, and elaborate carvings. It features neo-Renaissance details, including plasterwork garlands, cherubs, and acanthus leaves. Column details include cherubim, fruit garlands and faces with leafy walrus mustaches.
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Within its grounds are the fortified tower built circa 1347, the only remains of the medieval castle, overlooking the gardens and surrounding countryside, as well as a Tudor wheelhouse. The house remains furnished as a family home, with some outstanding 18th-century plasterwork interiors. It is a Grade I listed building.
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The doorcases, with their varied treatment and intricate beautiful fanlights, were where the builder could impose some individuality on the building. In most other areas, the normal lease laid down strict requirements. Internally, there were no such restrictions. This explains the wealth of varied plasterwork and woodwork contained in the houses.
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In the midst of this lighter decoration, there are examples of heavier detail, such as the intricate Corinthian cornice in the stairwell, and the superb third floor room with coved ceilings and dramatic rococo plasterwork. Monck House was "modernised" in the late 18th century or the beginning of the 19th century.
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Cindy Shih is a visual artist living and working in San Francisco. Her work is strongly rooted in traditional techniques and principles, including Chinese literati painting, Venetian plasterwork, landscape painting, and realism, although producing thoroughly modern pieces. One of her prominent themes is exploring her personal narrative in a broad context.
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The southern halls boast of nine lattice worked sash windows with coloured panes. Its ceiling is adorned with paintings and mirror works. The center hall has rounded alcoves adorned with ornate mirror and plasterwork. This hall is connected to the northern and southern halls by two sets of five doors.
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All the other windows in the building are square-headed. The porches and first-floor balconies were removed in Hastings' remodelling. The first floor has four windows; over each of these is a pediment containing decorative plasterwork. The second floor has four windows, while the third floor has six windows.
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The design was linked overall with decorative plasterwork. The library walls were decorated with carved pilasters and mouldings marking out panels of grey and cream silk brocade. The carpet was rose, with Rose du Barry silk curtains and upholstery. The chairs and writing desks were mahogany, and the windows featured etched glass.
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Some of the wood panelling in the living room had also been brought in from other houses. Several rooms have Jacobean plasterwork ceilings. The earliest part of the house is linked to the 17th century additions by a stone archway. There is a 17th-century barn to the northwest of the house.
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The formal rooms and hall on the lower level have elaborate plasterwork that was designed, in part, by Harriet McDowell, wife of John Robert McDowell. The house is currently owned by the great-granddaughter of the original owner. It was added to the National Register of Historic Places on January 5, 1984.
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The minarets also date from this period. The small room where Nematollah Vali prayed and meditated contains plasterwork and tile decorations. The complex is also famous for its tilework and seven ancient wooden doors.Laurence Lockhart Persian Cities, (London: Luzac and company ltd, 1960)Arthur Upham Pope and Phyllis Ackerman, 'Timurid Architecture: b.
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The interior contains much Adam style decorative plasterwork, apparently the work of a certain Mr Powell referred to in the invoice from the builder Bellman,Turner, p.58 and ornamental fittings. Robert Adam did much work for the Parkers at Saltram House near Plymouth between 1768–72 and 1779–82.Turner, p.
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Robert Adam was commissioned in 1768 to create the saloon and the library (The library is now the dining room). Adam, created everything from the door handles to the huge plasterwork ceiling. Thomas Chippendale made the furniture and Matthew Boulton made the four candelabras. She and her husband spent £10,000 on the saloon.
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The interior of the house has retained much of the original Federal-period woodwork, plasterwork, doors, and hardware. The house is distinctive as a remarkably unaltered house from the early 19th century, lacking modernizing alterations such as electricity and plumbing. The house was listed on the National Register of Historic Places in 1996.
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Its facade has two Doric columns supporting the balcony overlooking the Cours Mirabeau on the first floor. Inside, there is a grand staircase with a wrought-iron railing. On the ceilings, there is ornamental plasterwork representing angels. Its original owner was Lois d'Esmivy de Moissac, an Advisor to the "Cours des Comptes".
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The plasterwork to arches & ceiling cornices is also in good condition & quite elaborate. There are 2 pressed metal ceilings in upstairs bedrooms replacing earlier plaster ceilings & a pressed metal ceiling & dado in the billiard room. There are 10 fireplaces of pink, black, grey or white marble. All feature different tiles to hearths & grates.
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Spring Grove is a historic home located at Mount Holly, Westmoreland County, Virginia. It was built in 1834, and is a two-story, five-bay, brick farmhouse. The interior features pattern book inspired Greek Revival and Federal style woodwork and plasterwork. The front facade features a pedimented tetrastyle portico in an Ionic order.
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This varying of the classical style is best exemplified in the doorcases and surrounds of the principal rooms. In the West Parlour and Small Dining rooms there are doorcases complete with ionic columns and full pediments, whereas in the hall and passageways the doors are given broken pediments supported by an architrave. Many of the rooms are lined with painted panelling and have ceilings ornamented by plasterwork in a Neoclassical style; much of this plasterwork can be attributed to an English craftsman, John Rawlins, who arrived from London in 1771 bringing with him the interior design motifs then fashionable in the British capital. Visitors to Mount Vernon now see Washington's study, a room to which in the 18th century only a privileged few were granted entry.
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Briggs remodelled the far end of the courtyard, creating a neo-Baroque space with raised verandah leading into a double-height foyer dominated by an undulating balcony at gallery level, accessed via a double staircase. In the eastern side of the building Briggs created a double- height ballroom with similar undulating balcony (reminiscent of theatre boxes) and unusual Art Nouveau plasterwork linked by anteroom with the former restaurant (now The Cloisters), the cove of which was decorated with lively rococo plasterwork. Following a change of ownership in 2010 the hotel has again undergone substantial refurbishment, restoring the building back to the original splendour created by Briggs. Recently the hotel has undergone an update to the main entrance of the hotel.
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The eastern parlor has a large fireplace wall finished in wooden paneling, the fireplace flanked by pilasters. The western parlor has a period builtin cabinet, wainscoting, and plasterwork. The house was part of a farm named Anguilla Farm by the namesake son of the original proprietor, John Randall, a husbandman and Sabbatarian from England.
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As in England, commissions of new statuary tended to in relatively cheap lead and even more economical painted or gilded plaster. The plasterwork of John Cheere's yard in London was particularly in demand. Also important was the work from the yard of John Bacon (1740–99) who produced a monument for Robert Dundas (d.
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The Earl was to employ him again at Plas Newydd on Anglesey to rebuild the West front and the interior in a Gothic style from 1793 to 1799"Haslam R et al.", (2009), 153 Wyatt worked with the Lichfield architect James Potter and the style of plasterwork lacks the lightness of Strawberry Hill gothic.
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The roof is flared and hipped. The interior has a small amount of 17th-century plasterwork. St James House is considered to be a good representation of the burgage tenements that were common during Medieval times (link to glossary below). Its origins as a burgage are most evident at the rear of the property.
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Laird Cottage in 2011, built in 1870. Gaineswood is an antebellum historic house museum on the National Register of Historic Places and is a listed National Historic Landmark. It was built between 1843–61 in an asymmetrical Greek Revival style. It features domed ceilings, ornate plasterwork, columned rooms, and most of its original furnishings.
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It originally had a canopy, which was later removed. Much of the original interior, including plasterwork, the balcony and the vaulted ceiling, is still present in the building. The inside balcony originally had multi-coloured inlaid panels. The building was listed by English Heritage as a Grade II listed building on 3 October 1974.
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The interior of the hotel features oak beams, oak panellings and linenfolds, animal carvings, plasterwork of the ceilings, Terrazzo floors, and stained glasswork. Materials found in the interior include fossil-filled carved Tyndall limestone from Garson, Manitoba, and Bedford lime flagstones on the floors of Mount Stephen Hall, an event room within the hotel.
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The stone is laid in rough courses, with wooden beams interrupting some of them. Red brick chimneys with corbelled tops dot the structure. The interior is finished with rich woodwork, marble, and plasterwork. Despite the building's adaptation to institutional use, it retains some feeling of a home, and still includes some of John Hartford's furnishings.
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D. Campbell, Edinburgh: A Cultural and Literary History (Oxford: Signal Books, 2003), , pp. 142–3. Carving and plasterwork also became a feature of estate houses. Some of the finest domestic wood carving is in the Beaton panels made for Arbroath Abbey, which were eventually moved to the dining room of Balfour House in Fife.
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Nine main rooms, three downstairs, six above, kitchen and servants quarters attached, billiards room added 1910. Two storey verandah with ornate lace balustrade to north facade and north of tower. Richly carved entry door surrounded by fine stained glass. Fine pedimented cedar doorways internally, boldly carved ceiling plasterwork, carved cedar staircase, fine stained glass.
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This was flanked by two storey wings on either side each with two windows on each floor and a sloping roof. On the grounds there were ornamental gardens, including two lakes or fishponds and a large front lawn surrounded the property. Inside, the rooms were decorated with rococo plasterwork and would have been finely furnished.
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The courtrooms are almost identical with the original oak judicial benches with their hand carved seals of the State of Indiana on the back panel of each bench. The walls are decorated with plaster leaf swag. There are plaster columns on either side connected by plaster arches. There is decorative plasterwork around the windows.
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The tiled roofs have overhanging eaves. The interior retains many original features, with original panelling, plasterwork, door surrounds and fireplaces. The original staircase has been retained, along with dados, and a built-in window seat with chests of draws. Field later designed several houses in nearby Lyndhurst Road, this time in a Neo-Georgian style.
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It also contains a set of five paintings of Tabley by Anthony Devis. The ceiling has Rococo plasterwork by Oliver. This room leads to the Dining Room on the north side of the house, which contains paintings of the Leicester family. These include 3rd Lord Tabley by Frank Holl, Colonel Sir John Leicester, Bart.
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St Paul's Church, Winchmore Hill, London N21 - geograph.org.uk. St Paul's Church in Winchmore Hill, London Borough of Enfield, was built as a Waterloo church on land donated from the Grovelands estate. The church ceiling was said to be the largest unsupported expanse of plasterwork in Europe until its renovation in the 1960s introduced concealed supports.
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Dorothy Draper (November 22, 1889 – March 11, 1969) was an American interior decorator. Stylistically very anti-minimalist, she would use bright, exuberant colors and large prints that would encompass whole walls. She incorporated black and white tiles, rococo scrollwork, and baroque plasterwork, design elements now considered definitive of the Hollywood Regency style of interior decoration.
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The chimney stacks are rendered. The hall and several other rooms are panelled and the plasterwork and ceilings are ornate with decorated beams. There are classical scenes painted on some walls. The staircase is Jacobean in style and dates from about 1660; it has heavily carved newels, a thick moulded rail and turned balusters.
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In addition, the convent and fencing were restored, the second school building was demolished, and the historic old school building was stabilized. Kosicki's work was carried on through the tenure of Rev. Alphons Gorecki, who served from 1981 through 2002. Other work included refurbishing the interior, repairing plasterwork and statues, and upgrading electrical wiring.
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The structure is 104 m (340 ft) by 55 m (180 ft). The iwan is 18 m (60 ft) high, although it has partially collapsed. The structure was built of local rocks and mortar with plasterwork on the insides. The style of the interior design is comparable to that of Tachara palace at Persepolis.
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Fort is spread over an area of 20 acres (8 ha). The roughly oval east oriented fortification veneered with dressed masonry has as many as 12 semi-circular bastions at regular intervals. A spacious battlement is provided towards the inner side of the fortification. The fort has entrances decorated with cut plasterwork at the east and west.
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This later had a balcony added but all has now disappeared and only the stone flagged terrace remains. Internally the house retains the majority of its original joinery and plasterwork. The door are six paneled and the chimney surrounds have roundels. Behind the house there was once a detached brick kitchen and stables and a privy which still remains.
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The current house is of eight bays, and two storeys, the third having been removed in the alterations undertaken by Rev. Eyton. The main construction material is red brick, faced with cement render. The interior contains some 18th century plasterwork and fireplaces, but most of the decoration, including an imperial staircase dates from the Regency era.
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The interior was redesigned by Martin & Chamberlain in 1890–91, and in 1893–95 the firm built an eight-storey red brick and terracotta block fronting onto Barwick Street. Within this block an elaborately decorated ballroom was built, named the Grosvenor Room. It is long and high. The decoration includes ornate plasterwork, giant corinthian pilasters and elegant cartouches.
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NatWest Community Force Project: The Monmouth Savoy Trust. Retrieved 10 January 2012 The venue has no public funding, and costs about £50,000 per year to run. In 2004, the Heritage Lottery Fund contributed towards the restoration of the interior decoration, which includes red velvet curtains, elaborate gilded plasterwork, and glass chandeliers. The theatre has reputedly excellent acoustics.
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Papworth was born in Marylebone, London, in 1775 to John Papworth and his wife Charlotte (née Searle). He was one of twelve children and the second of six sons. His father described himself as an "architect, plasterer and builder". His background was in decorative plasterwork, and he dominated the trade in London, employing more than 500 men.
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The second floor comprises four bedrooms. The end pavilions contain a kitchen and servants' quarters on the east side and a carriage house on the west side, connected by a narrow passage through the hyphens, which themselves each contain two rooms. The house is substantially original in all respects, retaining its plasterwork, glass, woodwork and flooring.
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Yet today it closely resembles its original form. Sited on the first floor of the corps de logis, some distance from the original kitchen (on the ground floor of the North Pavilion), the Dining Room is decorated in a neoclassical style inspired by the work of Robert Adam. The ceiling is divided into geometric panels by ornate plasterwork.
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Fine chimney pieces and fireplaces can also be found in the library, and in the first floor drawing room which also features original hand-painted wallpaper and fine, early- to mid-nineteenth century plasterwork. The former chapel, which no longer has any of its original fittings, has a groined, vaulted ceiling, and is flanked by engaged, fluted pilasters.
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Maenan Hall is a Grade I-listed hall house located north west of the village of Llanddoged, Conwy, Wales. This late medieval country mansion has fine decorative plasterwork and was the home of the Kyffin family. It is currently in private ownership but the extensive gardens are open to the public on a few occasions each year.
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On his death in 1553, the manor passed to Francis Southwell and Alice, his wife. As they left no heirs, it became the possession of John Mynne, and then George Mynne and Elizabeth, his wife. In 1565, James Turberville, the former Bishop of Exeter, lived at the manor. Either Turberville or his great- nephew, John Turberville, added the plasterwork.
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The stage and front rows of the theatre were converted to a bowling alley and much of the ornate stenciling, plasterwork, and art glass was covered over. At the Auditorium Building, more than 2.2 million servicemen were housed, fed, and entertained between 1941 and 1945. Visible damage on the Auditorium Theatre's plaster work before the renovation.
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The house has two and a half stories with a hipped roof, and is constructed of red brick and brownstone. The exterior boasts bay windows, Corinthian columned porches, parapet balustrades, and a modillion cornice; the interior features notable frescos, paneling, plasterwork and stained glass. Behind the original house is a two-story, red brick church hall, built in 1917.
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In 2016, in conjunction with works to replace the "Dippy" cast of a Diplodocus skeleton which had previously been the Central Hall's centrepiece with the skeleton of a blue whale suspended from the ceiling, further conservation work took place. The cracks in the plasterwork were filled, and flaked or peeling paintwork was repaired with Japanese tissue.
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Internally, the house has a new kitchen, study and storage in the original wing. The main drawing room, dining and main entry are in the second wing. The two-storey wing contains bedrooms, bathrooms and a staircase. Alterations to the detailing of door and window joinery and plasterwork show the influence of the Arts and Crafts movement.
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In the 19th century the buildings were in very bad condition; the Doussaut de la Primaudiere helped by their son-in-law renovated the castle with modern techniques. The main staircase was doubled in the West Dungeon. They opened a mullion window to create an extra room. The interior layout has been redefined by brickwork walls and plasterwork.
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The parlour wing was probably built by Roger Ayshford (d.1610) and the plasterwork was probably commissioned by Arthur Ayshford. The owners at the time of the listing of the building in 1966 possessed a transcript of a 1689 inventory which showed the great wealth of the Ayshford family at that time. Mention was made of a "painted chamber".
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At each end of the hall is a raised cornice section on pilasters surmounted by a large semi-circular fanlight fitted with timber windows. Evidence exists of the picture theatre use. Much of the damage to plasterwork appears to result from the most recent use as a second hand furniture shop. There are regular gaslight outlets around the walls.
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A 6-acre cemetery was added in 1892, costing £3,100. In 1921, the church was again renovated, this time with significant changes to the walls by removing the plasterwork. A number of fine mediaeval murals were uncovered during the renovation, amongst them Elijah in the wilderness, John the Baptist and a depiction of a mediaeval priest.
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This included a blue sky with moving white clouds, and the inclusion of small plasterwork buildings to recall a Mediterranean courtyard. Sound equipment was also installed in the cinema as part of the refurbishment. In August 2017 the Picture House, was voted as one of Scotland's six 'Hidden Gems' as part of Dig It! 2017 campaign.
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The hall is constructed in red brick with stone dressings, and is in Jacobean style. It has an L-shaped plan with a tall staircase tower. The tower originally had a pyramidal roof, but now is surmounted by a balustrade. The interior of the house is decorated with delicate plasterwork, and the windows around the staircase contain stained glass.
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The walls are pierced by shot-holes and embrasures. The basement, and the fifth and sixth stories, are vaulted. In the remains of the main block is a fireplace surmounted by the Dunbar arms and the date 1602. Internally there are extensive areas of plasterwork, along with timberwork such as floors, cornices, doors and a shuttered window.
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The house also has a full width porch with brick piers. The interior features elaborate interior woodwork, period plasterwork, stained glass and decorated ceilings. Also on the property is a contributing carriage house. See also: The home was originally built for John C. Ostrom and was purchased in 1867 by Dayton S. Morgan and his wife Susan Jocelyn Morgan.
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Plastering should never be painted until it is thoroughly dry. Portland cement is best left for a year or two before being painted. Plasterwork not previously painted will require four or five coats, Portland cement five or six. If plastered work is required to be painted immediately, it should be executed in Keene's or Parian cement.
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Both halls employ large ornamental oak arches to visually define the spaces. The parlor is entered from the right side of the entrance hall and has an ornate plasterwork cornice with a central ceiling medallion. It measures roughly 18 by 26 feet. The sitting room is across the hall on the left and measures 18 by 18 feet.
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The Hall is a Grade I listed building. There are interesting family pictures and fine plasterwork dating from 1737. Also notable is the carved roof with late medieval tombers and the ballroom. The building is not open to the public except occasionally when Northampton Borough Council organise a heritage open day, usually a weekend in September.
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Auditorium Extraordinary and beautiful circular panelled ceiling, tilting upwards from the proscenium towards the gallery. Excellent plasterwork. This auditorium, undoubtedly one of the finest of its date in Britain, remains structurally the same as when originally built. Interior Horse-shoe shaped auditorium with three tiers of balconies on cast iron columns with floral capitals and long cantilever brackets.
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The interior decoration of which nothing remains except a small remainder was composed of plasterwork, tiled and azulejos, stained glasses and gilded coffered ceilings. The floors and walls were covered with tapestries. In the works of this palace intervened many artists of various nationalities, example of Eclecticism prevailing in the courtly constructions of the time; French influence is evident in towers, windows and balconies, while the Hispanic transpires in adarves flown on dogs in degradation as well as coffered ceilings, tiles and plasterwork. The hanging gardens In addition had hanging gardens, some nearly 20 meters high, garden areas, orchards and a zoological park that included a lion (gift from king of Aragon Pedro IV the Ceremonious), a camel, parrots, hunting dogs, hawks, four African buffalos, a giraffe, squirrels etc.
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Bohemia Farm, also known as Milligan Hall, is a historic home located on the Bohemia River at Earleville, Cecil County, Maryland. It is a five bays wide, Flemish bond brick Georgian style home built about 1743. Attached is a frame, 19th century gambrel-roof wing. The house interior features elaborate decorative plasterwork of the Rococo style and the full "Chinese Chippendale" staircase.
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Plasterwork detail in the entrance. 2nd Baron Coventry, who died in child birth in 1634. St Mary Magdalene's Church is a former Anglican church in the grounds of Croome Court, at Croome D'Abitot, Worcestershire, England. It is recorded in the National Heritage List for England as a designated Grade I listed building, and is under the care of The Churches Conservation Trust.
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The prison offers a range of education courses covering basic skills to higher education. A purpose-built Vocational Training Centre offers City and Guilds courses and qualifications in woodcraft, plasterwork and bricklaying. Unlike most other UK prisons, there is no staffed Visitors' Centre or children's play area. In the visiting room there are vending machines providing hot & cold drinks and snacks.
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The interior had carved marble chimneypieces, many elaborate ceilings and plasterwork of a high quality. There was a book room, a classical stone staircase with medallioned walls and a circular room with a groined ceiling. In the long parlour there was a painted ceiling by Riley, a student of Joshua Reynolds. Frescati even had its own theatre with Corinthian columns.
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The windows in the nave have two lights (sections of window separated by mullions), save for one to the west of the porch, which has one light. The east end of the chancel has three adjoining lancet windows, the tallest in the middle. Internally, the walls have panelling at the bottom and painted plasterwork above. The roof has exposed timbers.
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The Bayne–Fowle House is a historic house located at 811 Prince Street in Alexandria, Virginia, United States. It was added to the National Register of Historic Places on November 6, 1986. The Bayne–Fowle House is a masonry townhouse built in 1854 for William Bayne, an Alexandria-based commission merchant. It is noted for its fine mid-Victorian interiors and elaborate plasterwork.
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This courtyard structure may incorporate parts of two earlier houses. It included a great hall to the north, with a chapel to its east. The hall survives in part, but its ceiling has been lowered and the plasterwork was replaced in 1910. The posts of a screens passage also remain, the other side of which is the fireplace of the original kitchen.
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The school is two-and-a-half stories tall, constructed of two-color (red and buff) brick with stone trim and a slate mansard roof. The interior of the structure features marble hallways, decorative plasterwork, and Pewabic tile fireplaces and fishponds. Residents zoned to Richard are also zoned to Brownell Middle School and Grosse Pointe South High School, both in Grosse Pointe Farms.
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The groundfloor walls beneath the gallery are decorated with some of Carr's neoclassical plasterwork depicted in white against the eau de nilNilewater, a pale tint of cyan. colour of the walls. Recent analysis of the paint has shown that the walls were originally a pale stone colour and the staircase balustrade was painted blue with gilded figures on the (blue) plaques.
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The bridge and its approaches have been a registered historical site since 1940. The library is in the former convent of the Visitation, founded in 1644. The eighteenth-century castle at Éoulx is richly decorated with plasterwork, including the first floor ceilings, the panels surrounding the doors, the rosette in the second- floor ceilings. Externally, it has two towers, with arched openings.
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The English Renaissance-style molded plasterwork on the first floor ceilings, common in urban homes of this type but rare in rural variants, reflects Crane's cosmopolitan tastes. The next year's census shows the Cranes at that address, with their six children and one other woman. He died in 1872. The house and estate have remained a private residence since then.
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There are examples of Rococo plaster and wood decoration. The grade I listing was put on the building in 1954 partly due to the exceptional quality and rarity of Rococo plasterwork to the interior of the house. There is also a fine barn dating from the 16th Century. The house is the current seat of the 7th Earl Cathcart, Charles Alan Andrew Cathcart.
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Newbridge House was built by Archbishop Cobbe between 1747 and 1752 to the design of architect James Gibbs. Newbridge still contains most of its original furniture. The interiors include the Red Drawing Room, the Museum of Curiosities and ornate plasterwork found throughout the house. The house now offers tours of both the house and farm for money, alongside public events throughout the year.
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The company was founded as a family building business in 1877.Linford Group: History It changed its name to F. & E.V. Linford in 1925 and to Linford Group in 1970. In March 2007, it acquired Dorothea Restorations, a metalwork restorer, and in May 2008, it bought Trumpers, a plasterwork business. In October 2011, the Linford Group was placed into administration.
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Although the chapel was in relatively good condition when the Trust took it over, it required re-roofing and this was done with traditional Cornish rag- stone thus returning the building to its original appearance. The exterior of the chapel has been re-pointed, and the plasterwork in the ceiling repaired. The present organ was restored by Bishop & Son of Ipswich.
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After Charles' death in 1714, his brother-in-law Charles Longueville moved into the house with his widowed sister, Elizabeth. Charles added the plasterwork, staircase and the brick wing. From them the house passed via Charles' natural son, John Clark, to Mrs Hayter. Next the house was occupied by the Portman sisters, the last of whom died at a great age in 1846.
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Most of the current building was added in the 1620s by George Luttrell and his wife Silvestra Capps. It was then used as a farmhouse until the 20th century when the latest descendants of the Luttrell line lived in it again. The house includes a hall and gallery with a large kitchen area. The interior of the house is noted for plasterwork friezes.
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The house has amber coloured bricks complemented by Bath stone pilasters and frontispiece. The interior includes plasterwork by Grinling Gibbons. The house was described by Nikolaus Pevsner as "the finest house of its date in Somerset south of the Bath area". It has previously been used as a nursing home and today the Court is hired out for weddings and other functions.
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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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On either side of the entrance portico are arched windows and pilasters; this western elevation is finished with a parapet and flagpole. Behind the parapet is a hipped roof clad in corrugated iron. The building is rendered and the details are moulded plasterwork. The side elevations of the building contain sash windows and decorative fanlights with a pattern of radiating glazing bars.
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The roof level features a molded projecting cornice with scroll brackets. The hotel lobby features a domed skylight, dating back to 1908. The ceiling and walls feature elaborate plasterwork and are also painted using the trompe-l'œil technique. The walls are painted with portraits of Louis XIV of France, George III of the United Kingdom, Ferdinand V of Castile, and George Washington.
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After the renovation, the house consisted of 25 rooms. The Neely family decorated the mansion in the Victorian style, with parquet flooring, ornamental plasterwork, and ceiling stenciling. In 1969, the last resident of the mansion, Daisy Neely-Mallory, died at age 98. According to her wish, the house was deeded to the Daughters, Sons, and Children of the American Revolution.
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The federal district courtroom and its lobby, which are located on the third floor, underwent renovation and restoration work in 1994. Marble floors and walls are located in the lobby, and the courtroom features rich details such as Ionic pilasters and decorative plasterwork. An oval skylight is set within an oval dome in the courtroom. Original stained oak rails, benches, and desks remain.
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Tagh e Tavileh left left thumb Tagh-e Tavileh is a historic site near Izeh in Iran. According to signage at the sight, Taq-e Tavileh dates to the end of Mohammad Rasool Alla "St." in Izeh and "Lor Atabakan the Greats". The site was discovered during excavations of the hill. It was constructed of stone and plaster with tilework and plasterwork adornment.
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The plasterwork to the interior walls extends upwards from the chair rail, leaving a dado of exposed brickwork whilst the rising damp dries out. The rooms of the lower level have polished wide floorboards, most of which are original. The high ceilings are lined with wide beaded boards. The polished cedar joinery includes two chimneypieces and internal flush four-panelled doors.
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Tinplate was a type of architectural material consisting of sheet iron or steel coated with tin. “Tin roofs,” a type of tinplate, was originally used for armor but eventually as a roofing material. Tinplate was also used for decoration, such as ornamental windows, door lintels and stamped ceilings. Ornamental stamped metal made from tinplate was an affordable alternative to plasterwork.
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The architecture of the castle has no traces of an Irish tower house or castle. Benjamin Ferrey created a baronial gatehouse to match the two surviving corner towers to the castle. Lanyon's imposing doorcase was a celebration of Rowan-Hamilton's access through their front door for the first time in almost 200 years. The heavy plasterwork is by Mr. Fulton.
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Its hipped roof was added about 1903. The interior features unusually elaborate though provincial Georgian woodwork and plasterwork in the principal rooms. and Accompanying photo It was listed on the National Register of Historic Places in 1982. It has been the headquarters of Kappa Alpha Order, a college fraternity that was founded next door at Washington and Lee University, since 2004.
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He is mentioned in Laurence Sterne's Tristram Shandy and Lavengro by George Borrow, although Borrow places his exploits as far north as Lincolnshire. The elaborate moulded plasterwork (pargeting) decorating the Old Sun Inn in Saffron Walden, Essex features his battle against the Wisbech Giant. There are still references to Hickathrift in the Wisbech area. Hickathrift Farm, Hickathrift House and Hickathrift Corner exist.
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Luxury apartment houses of Manhattan: an illustrated history, Andrew Alpern, Dover Publications, 1992, pp. 110-111. The elevator opens into a private entrance foyer on each floor. Every apartment has windows overlooking Central Park. The detailing of the exterior in "elegant... limestone-clad, Italian Renaissance- palazzo style" is carried into the lobby, which features bronze torchieres and an elaborate carved plasterwork ceiling.
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The town has an unusual cinema, The Regal] in King Street, in the centre of the town. The building itself is a preserved purpose-built theatre complete with period interior design, sumptuous colours, winding staircases and fancy plasterwork. dead link It re-opened in 2013 after refurbishment. Concerts have been held in the Carousel Bandstand in Melton Mowbray Park since August 1909.
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Portal The Palacio de Benacazón is a palace located in the city of Toledo, in Castile-La Mancha, Spain. This palace is one of the most representative examples of the typical houses of Toledo. Its courtyard is of Mudéjar style, together with its decoration, based on plasterwork and azulejos, are its main attractions. Over time it has undergone numerous restorations.
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Craftsmen employed included the Dutch carpenters Alexander Eizat and Jan van Santvoort, and their countryman Jacob de Wet who painted several ceilings. The elaborate plasterwork was done by John Houlbert and George Dunsterfield.Clarke, p. 16. Interior work was still in progress when the James, Duke of Albany, the future James VII and II, and his wife Mary of Modena visited that year.
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In the 14th century, decorative plasterwork called pargeting was being used in South- East England to decorate the exterior of timber-framed buildings. This is a form of incised, moulded or modelled ornament, executed in lime putty or mixtures of lime and gypsum plaster. During this same period, terracotta was reintroduced into Europe and was widely used for the production of ornament.
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Powell-Redmond House is a historic home located at Clifton, Mason County, West Virginia. It was built in 1866, and is a 2 1/2 story red brick residence in the Italianate-style. It has a rear ell and features floor-length, doublehung, first story windows with heavy segmental stone lintels. The interior has a ballroom with a variety of intact ornamental plasterwork.
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The Banco Court is a Federation Free Classical building with Baroque influenced decoration evident in the intricate sandstone carving around the window and building entrances. Interiors feature intact elaborate plasterwork and cedar joinery. This building relates well in design and siting to the neighbouring St James' Church. The Banco Court is constructed in face red brick which has contrasting sandstone detailing and trim.
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This is why the external walls are plain - the original plans called for other attached buildings to abut all but the front of the theatre. The initial construction of the theatre cost $250,000. The building's auditorium, lobby and lounges were decorated with Italian marble, plasterwork, gilt trim, velvet carpets, silk tapestries, murals and crystal chandeliers. The auditorium seated 1,798 people.
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Lucae received training as a surveyor 1847–49. In 1850 he began studies in plasterwork at the () at the instigation of Johann Gottfried Schadow. He could not pass the entrance examination, so Schadow asked him to simply paint a human ear from memory. When Lucae was able to do it with ease, Schadow admitted him to the class contrary to all the rules.
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1851 plasterwork at Gawthorpe Hall, showing arms of Sir James Phillips Kay- Shuttleworth, 1st Baronet, with inescutcheon of pretence for his wife Sir James Phillips Kay-Shuttleworth, 1st Baronet (20 July 1804 – 26 May 1877) (born James Kay) of Gawthorpe Hall, Lancashire, was a British politician and educationist. He founded a further-education college that would eventually become a university.
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Retrieved 22 February 2014. It was decorated with one of the most notable interiors produced by the specialist ornamental plasterwork company of Clark and Fenn.Joseph Bernard Clark (1868–1940) – Master Plasterer , Friends of West Norwood Cemetery. Composer and performer Ivor Novello, immensely popular in his time though little-remembered today, presented his musicals in Drury Lane from 1931 to 1939.
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Early grottos were mainly of the shell grotto type, mimicking a sea-cave, or in the form of a nymphaeum. The shells were often laid out in strict patterns in contemporary decorative styles used for plasterwork and the like. Later there was a move towards more naturalistic cave-like grottoes, sometimes showing the early influence of the Romantic movement. The porch of Scott's Grotto today.
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This mixed style has been described as early Elizabethan with elements of Italian Renaissance, Beaux-Arts, early 19th century Georgian, late Victorian, and "baronial". Herter Brothers of New York City designed and installed new plasterwork ceiling and cornice. The ceiling was white, while the cornice was painted a delicate gray. Below the cornice was a delicately carved frieze featuring (at Roosevelt's insistence) taxidermied animal heads.
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The remnants of Frescati are scattered now and hard to trace. The cast-iron railings were stolen, but a few fragments of plasterwork remain in safe-keeping by the conservationists. Ironically for the conservationists, more of the house would have survived if Roches had been allowed go ahead with the demolition in 1971. The stuccoed ceiling which they originally offered to retain is now destroyed.
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As at 30 March 2004, although the building is still structurally sound the interior, especially, is in a very poor state. Unless remedial work is undertaken water damage also threatens the external brickwork. There is a large hole in the main roof which has resulted in major damage to one of the upstairs rooms. Much of the interior plasterwork has also deteriorated beyond repair.
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It is a rectangular hall with central arches, the arches are decorated with symbols that relate to the invocation of the Hospital of San Pedro. The stairway is covered by an elliptical vault that is decorated with Baroque plasterwork. Upstairs there is another living area, identical to the one on the ground floor, which connects to the church choir. The library is also on the upper floor.
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The plain exterior conceals the spectacular interior which has "gorgeously enriched" panelling, bolection moulded stone fireplaces and "outstanding" plaster ceilings. The quality and style of the plasterwork in the house bears similarities to that at Holyrood Palace which led Geoffrey Beard, a historian of English decorative arts, to suggest that the same craftsmen may have been involved. Eye Manor is a Grade I listed building.
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In 1992 Save Britain's Heritage decided to sell the hall before the internal restoration had been started. It was bought by James and Carol Hall who completed the internal restoration over a period of more than five years. This included new internal walls, ceilings, plasterwork and staircases. Much of the work was done by craftsmen who had developed their skills on the earlier restoration of Uppark.
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The chapel is covered by brick vaulting in the center of which hangs a votive lamp from a plaster pendant. The entire wall of the chapel is covered by a Moorish tiled plinth of great artistic value. On the altar there is an lowered arch niche housing a crucifix on a red damask background. This niche is decorated with fine Moorish plasterwork that festoons the tile panels.
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The new house contained a Roman Catholic chapel, which room survives as the first floor east room, with a plasterwork overmantel showing the Flight into Egypt in a pedimented frame decorated with putti, with busts supposedly representing Saints Peter and Paul.Pevsner, p.759 John Rowe became a bankrupt at some time before 1784, by which date the estate had been purchased by Thomas Bradbridge.
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Shahshahan Mausoleum () is a historical mausoleum in Isfahan, Iran. It is located beside Jameh mosque and is the burial place of a famous Sufi of Isfahan, Shah Alaeddin Mohammad. According to the date of Shah Alaeddin's death, which was in the December 1446, the mausoleum was built between 1446 and 1448. Inside and outside of the mausoleum is decorated by calligraphy, plasterwork and tiling.
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Scagliola wall and column surfacing, bronze window frames and detailed plasterwork emphasise the overall ambiance of the space. Other major interior spaces that reinforce the total building design include the secondary lift foyers on the ground, first and second floors, and the second floor Board Room. The City Mutual Life Assurance Building was listed on the New South Wales State Heritage Register on 2 April 1999.
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The southern gate serves as the primary entrance in the tomb's garden complex. It is a double storied building built of brick that is roughly square in shape. The southern façade of the gateway was covered with red sandstone and white marble, while the other three sides featured decorated plasterwork. The gate's interior features four small chambers, two of which are accessible by staircases.
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The proscenium is surrounded by heavy marble and plasterwork borders. Above the proscenium an elegant design with cherubs flanking a crown and a K/T emblem provides a focal point to the theatre when the curtain is down. The red curtain has simple gilding, but often remains unseen as it is unused for many of today's productions. The seats and drapes are of a rich red material.
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The San Matias Cocoyotla church is one of the oldest parish churches in the region, dating from the 17th century. It has a Renaissance style portal with Herrerian style crests. The interior is covered by three vaults, which are decorated with gilded plasterwork. The San Juan Texpolco church dates from the 17th century and is dedicated to John the Evangelist as he was crucified.
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B. Skinner, "Scottish Connoisseurship and the Grand Tour" in F. Pearson, ed., Virtue and Vision: Sculpture in Scotland 1540–1990 (Edinburgh: National Galleries of Scotland, 1991), , pp. 39–40. As in England, commissions of new statuary tended to be crafted in relatively cheap lead and even more economical painted or gilded plaster. The plasterwork of John Cheere's yard in London was particularly in demand.
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The church is built of flint with some sandstone dressings and quoins, covered with cement in places. The roof is laid with a mixture of red tiles and Horsham Stone slabs. The "bold", "impressive", "solid and powerful" chancel arch is the principal structural feature inside. It dates from the 11th century and is flanked by a pair of arched recesses, one of which retains some original plasterwork.
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McKim's goal was "to make changes so that the house would not have to be altered again."Monkman, p. 186. Herter Brothers executed plasterwork, paneling and cabinetwork for several of the public rooms, helping to turn a stylistic hodge-podge of interiors into a unified Neo-Classical whole. Edward F. Caldwell & Co. made the lighting fixtures, and Leon Marcotte & Co. and Davenport & Co. made the furniture.
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For some occasions such as festivals, women may adorn themselves with specialized jewelry and head-dresses similar to those worn by the Berber tribes of the Maghreb. A lot of Djibouti's original art is passed on and preserved orally, mainly through song. Many examples of Islamic, Ottoman, and French influences can also be noted in the local buildings, which contain plasterwork, carefully constructed motifs, and calligraphy.
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There are mahogany doors to the corner rooms on the ground floor. The music room and billiard room both feature marble fireplaces. In the gold room, a marble buffet and mirror face a marble fireplace. The plaster ceiling has figures of a lion, eagle, dolphin, and phoenix at the corners of the room, and is an example of the "fine rococo plasterwork" in the house.
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This knot's name dates back to at least 1783, when it was included in a nautical bilingual dictionary authored by Daniel Lescallier. Its origins prior to that are not known with certainty. There are several possible explanations for the name "Carrick" being associated with this bend. The Elizabethan era plasterwork of Ormonde Castle in Carrick-on-Suir shows numerous carrick bends molded in relief.
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The Bath House was designed by the architect Sanderson Miller. As well as the bath chamber, the building incorporates an elegant octagonal room above, which was used by bathers to recover after their cold baths. The room is unusually decorated with icicle-like plaster work to the ceilings, and with sea shells set into the plasterwork decorating the walls. The shell decoration was by Mary Delaney.
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His son from this marriage was another John Harington who grew up and became a courtier of Elizabeth I and invented the first flush toilet. He spent most of his time at his principle seat at nearby Kelston and, in 1591, sold St Catherine's Court to John Blanchard. His son William Blanchard, remodelled the house. His initials appear in the plasterwork frieze of a bedroom.
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The plasterwork is again by Oliver. The furniture and paintings are original to the house. The paintings include one of John, 1st Baron Byron by William Dobson, one of his wife as Saint Catherine by Peter Lely, and two paintings by John Opie. The most important painting in the room is Tabley, the Seat of Sir J. F. Leicester, Bart: Windy Day, by J. M. W. Turner.
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After the concrete is flattened it is smoothed with a concrete float or power trowel. A concrete floor is sometimes called a solid ground floor. A plasterer also may use a screed to level a wall or ceiling surface in plasterwork. This sense of screed has been extended to asphalt paving where a free floating screed is part of a machine that spreads the paving material.
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Ardress House, Annaghmore, was originally a modest farmhouse which was transformed in 1760 by Dublin architect George Ensor. It is run by the National Trust and contains examples of 18th century furniture and a display of paintings. It includes plasterwork in the drawing room made by Michael Stapleton in 1780. The farmyard and outbuildings show aspects of farming history with a display of farm implements.
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The architectural detail of the houses clearly indicates the progression of their construction. No. 21 has intricate rococo plasterwork and a particularly heavy staircase. The detail lightens as one progresses along the terrace, although No. 22, the first to be built, is an exception. Here the main stair hall and the principal reception rooms have much lighter detailing, in the neo- classical, Adam style.
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From the seventeenth century, as domestic architecture for the nobility was increasingly for comfort, rather than fortification, there was elaborate use of carving in carved pediments, fireplaces, heraldic arms and classical motifs. Plasterwork also began to be used, often depicting flowers and cherubs.T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), , p. 68. Richly carved decoration on ordinary houses was common in the period.
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Godney was a sole benefice until it was united with St John's at Glastonbury in 1972. In 1985, it became part of the Abbey Five Benefice with Glastonbury, Meare, and West Pennard. Repairs were carried out in 1980 for a cost of £2,700, which included the replacement of plasterwork and repair of the roof. Holy Trinity closed in 1998 and was declared redundant on 1 July 1999.
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Ceri Johnson/National Trust, "Saltram", National Trust Press, 1998 The house owns ten portraits by Joshua Reynolds. Reynolds who was her friend spent two years trying to complete a profile picture of her. Robert Adam was commissioned in 1768 to create the saloon and the library (The library is now the dining room). Adam, created everything from the door handles to the huge plasterwork ceiling.
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The Hall of Ambassadors (ceiling) The Ambassadors Hall is the ancient throne room built during the reign of Al-Mu'tamid in the 11th century. In the 14th century, Pedro I of Castile remodeled the hall to make it a centerpiece of his royal palace. Plant motifs in plasterwork were added in the corners of the room and spandrels of the arches. Windows were traced with geometric elements.
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The porch has an elaborately decorated roof line, as does the main roof and the porte cochere on the north side. The interior is in a remarkable state of preservation. The public rooms in particular exhibit a wide variety of materials and are richly decorated with wallpaper, woodwork, plasterwork, and stenciling. Original gas lighting fixtures are still present, but have been converted to electricity.
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The 17th century saw the introduction of different types of internal plasterwork. Stucco marble was an artificial marble made using gypsum (sometimes with lime), pigments, water and glue. Stucco lustro was another a form of imitation marble (sometimes called stucco lucido) where a thin layer of lime or gypsum plaster was applied over a scored support of lime, with pigments scattered on surface of the wet plaster.
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Much of the original plasterwork, some dating back to the 1814–1816 rebuilding, was too damaged to reinstall, as was the original robust Beaux Arts paneling in the East Room. President Truman had the original timber frame sawn into paneling; the walls of the Vermeil Room, Library, China Room, and Map Room on the ground floor of the main residence were paneled in wood from the timbers.
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The hall extends the full width of the castle and is sited on the first floor accessed by a turnpike stairway. The measurements of the hall are given as being by with a height of to the vault's top. The hall ceiling was given a Jacobean styling during the Victorian era. Some plasterwork added when Wardrop's design work was included remains in the vaulted hall.
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The property remained in the Qualtrough family, apparently as a rental investment, for about 3 decades, until transferred to Janet Watters, widow, of Brisbane, in August 1920. Mrs Watters resided at 22 Bess Street through the 1920s, until her death in 1931. It would appear that she was responsible for the refurbishment of the cottage, with the construction of a western sleeping verandah and bathroom, and decorative plasterwork throughout.
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Arithmetica from the garden of Edzell Castle From the seventeenth century, as domestic architecture for the nobility was increasingly for comfort, rather than fortification, there was elaborate use of carving in carved pediments, fireplaces, heraldic arms and classical motifs. Plasterwork also began to be used, often depicting flowers and cherubs.T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), , p. 68. Richly carved decoration on ordinary houses was common in the period.
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After disagreeing with Japanese officials he left Japan in March 1876, later receiving a prize for his paper "Japan Lights". On his return he first set up in Glasgow for Young's Paraffin Oil, before moving to south London in 1881 making architectural plasterwork, where he remained until his death. He is buried in West Norwood Cemetery, where his marble memorial there was restored by Yokohama Chamber of Commerce in 1991.
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The Carolean staircase from Cassiobury Park has come to rest in the Metropolitan Museum of Art as have elements to reassemble "period rooms", including the Rococo stuccoed plasterwork from the Dining Room of the Dashwood seat, Kirtlington Park, the tapestry room from Croome Court and the dining room by Robert Adam from Lansdowne House, London, where the incidence of lost great residences is higher, naturally enough, than anywhere in the countryside.
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The interior doors have stinkwood frames and yellowwood panels. There are unusual shutters of the same wood and a heavy front door of solid teak. The facade of the house was designed in the classical style with fluted pilasters running up to support a wide cornice. The classicism is repeated in the treatment of the pedimented front door, which surrounds a plasterwork palm tree, the symbol on the Stellenbosch Church seal.
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The tower, which stood in a commanding position, had three storeys and a garret, with a semi-octagonal stair tower in the re-entrant angle. The original doorway was at the foot of the stair tower. There was a kitchen in the unvaulted basement, while the hall was on the first floor; there was 17th-century plasterwork on that floor. The site is now occupied by a new house.
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A low pyramidal hipped roof covers the main block of the house, as well as the front and rear porticoes. It is crowned by a small cupola. First floor hall and cantilevered staircase The interiors of Sturdivant Hall reflect the growing taste for opulence in the United States during the 1850s. The first floor has elaborate plasterwork and millwork throughout, with the drawing room and ladies parlor being the most detailed.
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A late Victorian, two-storeyed rendered brick house with a two-storey verandah and a four-storey tower. Interiors original finished in cedar and walnut imported from USA. Frank Coffee's initials were incorporated within the elaborate internal plasterwork and staircase joinery, all of which survive. Much of the original garden survives including exotic trees, some of which were imported from Japan and California, partly obscure the house from the street.
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Stapleton associated with the master-builder, Robert West, the progenitor of the Dublin School of plasterwork of the 1760s. When West died Stapleton was his executor. He inherited his pattern books and both modelled himself on, and refined the style of, this central figure in the shaping of architecture and design in Dublin and in the country. He died in 1801 and is buried at Malahide Abbey, just outside Dublin City.
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The pub has undergone several refurbishments over the years, the most notable being in 1996, when the two sides of the pub (saloon bar and restaurant) were knocked into one. It was Grade II listed in 2015 by Historic England as part of a drive to protect some of the country's best interwar pubs. The citation draws attention to the quality of the building including its plasterwork and structural timber framing.
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A short flight of steps rise to the main entrance, usually supported on a stone arch. The buildings are constructed of local Craigleith sandstone with roofs of Scots slate with lead flashings. The typical interior has a grand open staircase built in stone topped by an ornate cupola giving it daylight, and often embellished with ornate plasterwork. The main room for public entertainment was usually the first floor front room.
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The joinery has been replaced and ceiling roses and other decorative plasterwork added. The attic was reconstructed in the 1980s with sheeted wall and ceiling linings and dormer windows. A detached building said to contain the original kitchen and wash- house stands to the rear of the house, accessed from the lower level terrace. A new carport and covered walkway has been added at the side of the property.
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Both houses are richly decorated with elaborate plasterwork. The two houses at Nos.5 and 6 were taken into Government service in 1859, when they became the Offices of the General Valuation and Boundary Survey of Ireland under Sir Richard Griffith, Bart. It was here that Sir Richard completed his magisterial work on the land and tenement valuation of Ireland, which over time became known as the "Griffith Valuation".
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Unlike the other wings of the hotel, the centre tower featured almost no French medieval architectural elements. Painter's designs had windows that were rounded, flat dormers as opposed to pointed ones, and rounded arches rather than pointed arches seen in French Gothic architecture. The central wing also featured a Renaissance Revival styled arcade before its first floor lounge. The interior of the hotel features plasterwork on the ceilings, and Terrazzo floors.
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In late 2002, the Broad and Chestnut Streets corner was occupied by a Borders bookstore, which moved into the two-story-plus-mezzanine space after vacating the 1727 Walnut Street location it had occupied since 1990. Borders closed its store in 2011. A three-story Walgreens presently occupies the site (2014) and areas of the exceptionally beautiful Wanamaker Men's Store plasterwork ceiling are visible at the upper stories.
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The house still retains much of its original plasterwork, which incorporates symbols, badges and heraldry, which the historian Peter Smith has described as "the most perfect and the most complete memorial to Elizabethan Wales." The architecture of the house influenced other contemporary projects in North Wales, and was later copied during the 19th and 20th centuries in buildings around the town of Conwy, including the local police station and nearby hotel.
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The Great Chamber is available for wedding ceremonies. Other sections of the house were redeveloped to hold exhibition displays and other visitor facilities. The restoration included installing original and replica interior furnishings, using wall hangings woven from Kidderminster stuff and Dornix. In what historical consultant Charles Kightly has praised as a "brave and successful" decision, much of the plasterwork was repainted, using reversible techniques, to resemble its 17th-century condition.
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The Old Hall is now a ruin. It is administered by English Heritage on behalf of the National Trust and is also open to the public. Many of the Old Hall's major rooms were decorated with ambitious schemes of plasterwork, notably above the fireplaces. Remarkably, impressive fragments of these are still to be seen (protected by preservative coatings and rain-shields), though most of the building is unroofed.
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The building was converted into four apartments in 1956, but much of the original woodwork and plasterwork was retained in this process. The house was designated a National Historic Landmark in 1962, and listed on the National Register of Historic Places in 1966. This house is not to be confused with the George Francis Parkman Mansion, 33 Beacon Street, which is owned by the city, and was also a Coolidge design.
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These balconies (or miradors) adapt the European architecture to vernacular Peruvian tradition. The interiors feature Sevillian azulejos, plasterwork, wooden columns, lobed Mudéjar arches and soaring coffered ceilings. It is considered to have a true "Limeño" architectural originality, harmoniously combining Andalusian, Mudéjar and Criollo features. The public cannot easily visit the inside, but some visits can be made by appointment only at the office of 'Imagen Institucional del organismo público'.
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The plasterwork was done by James Bain and Son; the glazing by the Decorative Art Company; and the leadlights by Exton and Company. The garden and landscaping was set out by H. Stokes. Many of the internal fittings were donated by parishioners and much of the fitted and loose furniture, including the altar furniture and pews was designed by Eric Ford. An organ by Messrs Whitehouse costing was installed.
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It contains a white chimney-piece and a cast iron grate. The mahogany woodwork was carved by Daniel Shillito and Mathew Bertram and the plasterwork was by Thomas Oliver. In the side walls are plaster figures of Isis and the Capitoline Flora in niches, and on the walls are plaster relief medallions representing the four seasons. Much of the furniture in the room has been moved from elsewhere in the house.
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In 1821, Hogan carved twenty-seven statues in wood for the North Chapel in Cork for the reredos behind the high altar. After subsequent cathedral renovations, these are now positioned in decorative plasterwork over the nave."Cathedral Parish, Cork, Ireland", Cathedral of St Mary and St Anne He also did a bas-relief of the "Last Supper" for the altar. This work kept him employed for about a year.
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In 1995, Toll Brothers, Inc. purchased the property to build a golf community gated community around it, while using the renovated Manor home as a clubhouse. It received an extensive addition to incorporate restaurants and the club house, all within the overall architectural theme and style of the original home. Within the original home, despite the damage sustained from neglect, various bas relief artworks and plasterwork remained in place.
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It was quite common in the Georgian period for existing houses in English towns to be given a fashionable new façade. For example, in the city of Bath, The Bunch of Grapes in Westgate Street appears to be a Georgian building, but the appearance is only skin deep and some of the interior rooms still have Jacobean plasterwork ceilings.Jean Manco. Bath's lost era, "Bath and the Great Rebuilding", Bath History vol.
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By the 18th century, the Great Hall must have seemed old fashioned, and a surviving design of suggests that Cuthbert Constable intended to completely remodel the interior. However, it appears that remodelling was not undertaken until the 1760s when his son William Constable commissioned a number of architects for designs. These included John Carr, Timothy Lightoler and Capability Brown. The decorative plasterwork was executed by James Henderson of York.
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Over the years, the exterior had undergone various alterations, but the plasterwork as originally applied in the 1670s was largely intact. The roof was covered with tar shingles until the 19th century, when these were replaced with tin. The palace was restored in stages during the 1990s. The disposition of the rooms in the royal apartments was restored, and the 18th- century furnishings were placed in the correct context.
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The Dents' business was based in Hong Kong, and the interiors of the house were originally designed to resemble those of houses at the treaty ports in the East. Luxurious decoration included plasterwork frieze with pearls in the ballroom, marble fireplaces and ivory doorhandles. The house was furnished by the Lancaster-based firm Gillow's, though the Dents also brought furniture from the East.Baird, Liverpool China Traders, p. 129.
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Past the doors, in the building's main lobby, is the large, marble staircase to the second floor. The staircase, as well as the lobby's wainscoting, is done in gray Tennessee marble. Most of the first floor is original to the building, including the hexagonal marble flooring, stained glass windows and two original, first floor courtrooms. The plasterwork along the walls and ceilings of the lobby is ornately decorated.
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There were two boxes which seated 30 in total on each side at Dress Circle level, with elaborate plasterwork on the dress circle and box fronts. The proscenium opening was 24 feet wide and 26 feet deep with the flies 32 feet high. In addition there were eight dressing rooms, a manager's office and a band room with the stalls, pit and circle each having its own licensed bar.
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The National Archives hold the Will of William Ormond of Pembrokeshire, which was written in 1610. The name can vary in spelling in old texts (as is typical of the English language generally). However the spelling Ormond is specific to the earldom, while Ormonde with an e is specific to the dukedom. (Jane Fenlon, 'The decorative plasterwork at Ormond castle: a unique survival', Architectural History, 41 (1998), 67–81, at 80).
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The seating capacity in 1894 was a staggering 2151. In the nineteenth century, seating in the auditorium was segregated by class, with the Dress Circle reserved for the gentry. For those "ordinary" people lucky enough to get in, they watched from the gallery where seats could not be booked in advance. The interior was overwhelming with its predominant colours of cream and claret and the ornate ceiling plasterwork.
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All four angles are marked with buttresses topped with tall (taller than the roof, in fact) wooden pinnacles. A small sacristy juts on the right side of the otherwise rectangular building. The inside decoration is equally elaborate, with fake wooden rib vault, glass- and plasterwork (the latter is frequent in Quebec 19th century religious architecture). Each corner has an alcove with a statue of a different saint (Sts.
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Behind the south front are Georgian interiors. The main interior hall, of two-story height with staircase to an upper landing, has plasterwork in Rococo style. The Morning Room has ceiling patterns perhaps by James Gibbs. In 1838 Thomas Moule noted ancestral family portraits at the Hall, particularly one of Sir Thomas Heneage, Vice-Chamberlain of the Household and Chancellor of the Duchy of Lancaster to Queen Elizabeth.
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New stone floors were added, a new plasterwork ceiling was added to the Great Room, and new furniture was designed. Dutton employed Charles Bridgeman to redesign the landscaping. Jeffrey Haworth is of the opinion that the new interiors and some of the furniture was designed by William Kent. There were then few changes until the early 19th century when the building was modified to make it into a house.
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These slaves executed much of the early plasterwork in Tuscaloosa. The Drish House in 1911, while still intact. Built for Drish by his slave artisans, the first early incarnation of the house is usually credited to the influence of state architect William Nichols. The exterior of the house, as completed in 1837, featured full width, monumental Doric porticoes to the front and rear, with two-story pilasters dividing each bay on all four sides.
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The entrance from the courtyard has a pointed arch with a few simple decorations while the other entrance, also pointed, has zigzag or sawtooth decorations. Two small columns bearing Islamic decorations with scrolls and leaves support the elegantly rib- vaulted ceiling. The interior walls are richly decorated with yeseria plasterwork and tiling while the floor is also decorated with alternating tiles. The wall decorations combine depictions of plants, geometric patterns and heraldry.
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In 1940 McGrath moved to Dublin where he was appointed Senior Architect at the Office of Public Works. In 1948 he was appointed Principal Architect, a post he held until 1968. He quickly took command of the resources which were available to give a recognizable "look" to Ireland's state buildings. These included specially-designed woolen carpets, Waterford glass chandeliers, Irish silk poplin hangings and, in terms of fittings, 18th-century chimney-pieces and ornamental plasterwork.
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The plasterwork features vines and leaves, and the white marble chimneypiece is decorated with wreaths and torches. The main staircase is cantilevered and follows all four walls of the stair hall; it has limestone steps, a balustrade with cast-iron scrollwork and a mahogany handrail. The sitting room and study contain oak panelling. A window contains stained glass panels dating from the mid-16th and 17th centuries, which possibly originated in the earlier house.
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The dominant feature of the entrance hall is its high barrel-vaulted ceiling decorated with Neo-classical Empire-style plasterwork and murals. The decorative pattern consists of raised, geometric shapes and festoons painted bronze, set on a pale background and divided by strips of fretwork. The end vaults are painted with colourful medieval scenes. Two elaborate original chandeliers, with red glass panels and faux candle lights are suspended from the centre of two ceiling medallions.
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" The exterior is an Art Deco interpretation of Byzantine style, with an oversized, arched entrance, paired arched doorways, polychrome brickwork and basket capitals. Kadish describes the interior as "spanned by a deep barrel vault over the central aisle, which was originally painted to imitate a star- spangled sky. The gallery runs around three sides carried on slender iron columns with palmette capitals. The plasterwork Ark canopy is highly decorative, painted and gilded.
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The museum includes a series of models, maps, paintings and reconstructions to show how a typical Georgian house was constructed, from the ashlar stone to the decorative plasterwork. Sections include displays of stone mining, furniture making, painting, wallpaper, soft furnishings and upholstery. A model of Bath on a 1:500 scale gives a bird's-eye view of the city. The study gallery specialises in books on architecture including the Bath Buildings Record and Coard Collection.
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The interior includes well- preserved period woodwork and plasterwork. Built in 1936, this building is one of a modest number of buildings to survive a major flood of the area the following year, owing to its location on some of the highest ground in the area. The building is also an excellent local example of Craftsman-Tudor Revival styling. The building was listed on the National Register of Historic Places in 1998.
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The Sanctuary floor is mosaic, the principal colour being blue. At the foot of the Altar is a pelican, a common Christian symbol of sacrifice. Saint Malachy's is, perhaps, best known for its fan vaulted ceiling which is an imitation of the Henry VII Chapel in Westminster Abbey. Sir Charles Brett stated: It is as though a wedding cake has been turned inside out, so creamy, lacy and frothy is the plasterwork.
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BAC's changes to the fabric of the building have been minimal, and more recent changes have emphasised the preservation and representation of original features. The Grand Hall was extensively damaged by fire on 13 March 2015, but has been rebuilt. The hall's elaborate ceiling was entirely destroyed, and has been replaced by suspended wooden tracery patterned on the lost decorated plasterwork. The charred remains of the hall's wall panelling have been left in place.
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Astronomical clock, Mantua The clock dial, at a height of approximately 15 metres, is protected by an arched canopy. It was once surrounded by 12 circular frescoes depicting the arts of the quadrivium: as the plasterwork has fallen away, only the four underneath the canopy are now visible. The fresco position at the top of the dial was later replaced by a metallic moon sphere. The outer ring numbers the hours from I to XXIIII.
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It is said that this decision was politically motivated and largely due to lobbying by local property developers. Once the public in 2007 became aware of the project, they petitioned against the decision and won. No new buildings, shopping center or the underground garage were built. The World Monuments Fund has been working on a conservation project at the palace, including surveying structural integrity and cleaning and restoring the stone and plasterwork.
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Among these was a strong bond to the Clan Burnett of Leys. The Gordon crest is emblazoned in plasterwork on the ceiling of the early 17th century great hall of Muchalls Castle built by Alexander Burnett. In 1644 Alexander Bannerman of Pitmedden fought a duel with his cousin, Sir George Gordon of Haddo, and wounded him. Also in 1644 during the Civil War at the Battle of Aberdeen there were Gordons on both sides.
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Their "popish" overtones led to them being damaged by an occupying Covenanter army in 1640.M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: from the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), , p. 46. From the seventeenth century there was elaborate use of carving in pediments and fireplaces, with heraldic arms and classical motifs. Plasterwork also began to be used, often depicting flowers and cherubs.
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Concrete steps with wrought iron guardrails lead to the main entrance. A round-arched door in a pointed-arch entryway opens into the carpeted sanctuary. The plush pews, cushioned in velvet, contrast with the otherwise restrained interior of wainscoting up to the chair rail that runs around the room, simple moldings elsewhere in the room, and plasterwork around the chandelier mounts. At the rear the pulpit is on a slightly raised platform.
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The circular ground floor dining room is said to have been an inspiration for the Oval Office of the White House. The decorative plasterwork was carried out by Michael Stapleton. Over the years, the house passed out of the Vesey family and, since 1942, has been the residence of the Italian ambassador to Ireland. In the grounds of the house is the spa, the waters of which attracted people to the town in previous times.
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At the time, Taranto was part of the Kingdom of Naples. In 1883 the San Angelo tower was demolished to allow construction of the Ponte Girevole, and two others were removed to allow the widening of the canal. Since 1883 the fort has been occupied by the Italian Navy. Beginning in 2003 the Navy began restoration and archeological work on the site, removing plasterwork and investigating fortification work dating back to the Byzantine era.
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The gallery's ceiling height is about at its tallest and about at its shortest, due to the sloping wooden floor. Two stained-glass windows, which cannot be opened, are along the northwest wall. A small closet, accessible through a wooden door with two parallel vertical panels and original latch hardware, is at the base of the staircase. The church's original plasterwork and a vertically cut wooden board, suggesting half-timbering, are visible in the closet.
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The church ceiling was said to be the largest unsupported expanse of plasterwork in Europe until its renovation in the 1960s introduced concealed supports. The original wooden clapboard St Paul's School building can be seen a little further down Church Hill. The remains of the second, brick-and-stone school building are evident in the walls of the church car park. The current 1960s building is on Ringwood Way, off Station Road.
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Sculptures and other plasterwork ornamental features were painted grey and added to the façade, which was originally yellow and without decoration. The ionic columns at the gables were replaced by new columns in Italian marble. The glass wall of the Hall of Mirrors was re-worked with new, thin bronze glazing-bars and the outdoor stairway was clad in white marble. The dining room was decorated in a Pompeian style, including the ceiling.
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He secretly enjoyed watching his friends when they went skinny-dipping; however, the shy boy did not participate. At 19 he often participated in competitive cycling, and at that time he had a heavy crush on a 14-year-old boy who was among his fellow cyclists. Bleisch was a skilled plasterwork professional and worked as musician, theatrical stagehand, nurse and lifeguard. He became known in East Germany with his first book, Kontrollverlust.
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The Michigan Theatre was opened in 1930. It was built for the mainstream popular entertainment of the day, vaudeville and movies. For just a few pennies, the public of the 1930s entered the building and were treated as royalty. As guests entered the exotic Spanish-styled building, they found lavish interior plasterwork of the 1930s, polychrome terra cotta facade, walnut furniture, wool carpets, oil paintings, heavy demask draperies, and exotic stained glass light fixtures.
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They also installed a central oriel window and extra bay windows and had a hand in much of the interior work although there is panelling and plasterwork which date back to the 17th century. The landscaped grounds are also the work of the Reptons. They created the park, lake and woodlands and set out the terrace on the south of the house. An avenue of oak trees leads to the west front of the hall.
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The plasterwork was completed by Luis Ortiz Monesterio. The granite base was designed in the United States. The back of the base has a hidden urn which contains soil from San Pablo Guelatao, where Juárez was born. The piece sits in a plaza at an intersection with an inscription that reads: :En este sitio fue depositada :tierra de Guelatao, Oaxaca, :lugar de origen del presidente :Benito Juarez :7 de enero de 1969.
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Before 1850, the far end of the garden was sold and built into the Bellevue terrace. Original rococo plasterwork, by Joseph Thomas, survives in a number of interior rooms. The Symonds Music Room, which adjoins the Drawing Room, was constructed in the 1850s and extends beyond the left point of the south faćade. The vantage point of the house offered a view of the Avon, of the city of Bristol, and of the Bath hills.
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The house's design uses the simple geometric forms typical of Arts and Crafts designs throughout, with plain cylindrical columns, diamond and rectangular patterned panels, and semicircular arches atop the entrance and several windows. The Federal Revival elements are largely confined to the interior and include a plasterwork dining room ceiling, a mosaic fireplace surround, and cabinets inspired by Palladian windows. The house was added to the National Register of Historic Places on January 12, 2016.
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Paul Goatman, 'James VI, noble power and Glasgow', in Miles Kerr-Peterson and Steven J. Reid, James VI and Noble Power in Scotland (Routledge: Abingdon, 2017), pp. 86-89. One of the Elphinstone residences was on the site of 87–89 Main Street, Gorbals. In the nineteenth century the remaining buildings consisted of a small tower and an adjacent lodging with seventeenth-century decorative plasterwork on the ceiling of the upper storey.
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Inside the house is a full-height entrance hall with a hammerbeam roof. Under the staircase in the hall is a large fireplace with pairs of granite colonnettes, with a lintel bearing the inscription BE JUST AND FEAR NOT. The ground floor rooms contain elaborate decorative plasterwork. The architectural style of the house is Gothic Revival; it is the last time that Paley and Austin used Gothic features in a design for a domestic property.
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The interior features late Victorian woodwork, plasterwork and original hardware. The house was built in 1880, probably from plans in a published pattern book, and was the first to be built in a relatively new subdivision on Providence's north side. It is a well- preserved example of a "picturesque cottage", a style popularized by a number of 19th-century architects. The house was listed on the National Register of Historic Places in 2015.
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All joinery is constructed of Australian cedar. The house also has marble fireplaces, extensive decorative plasterwork and ceiling enrichments, and open grille columns on front and back verandahs cast by the Victoria Foundry of Bubb and Son. The cast iron columns are identical to those used at Admiralty House, Sydney. The roof is clad with corrugated metal sheeting, and although having numerous unsympathetic alterations the building still retains much of its original detailing.
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The exterior is largely unaltered, but the interior has been substantially renovated. In 1923, the lobby was reduced in size, moving the box office and eliminating a secondary box office for the balcony, while the balcony itself and a gallery level were replaced by a single larger balcony, reducing seating capacity. Plasterwork in the upper levels was replaced at this time, and a manager's apartment was removed. Current seating capacity is 1,078 seats.
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It also contains the old well which is now covered over. The roof is slated and the doors are four panelled. The shuttered windows at the front of the house are pleate galss while those at the back at\re small paned with crown glass. The house retains its early Victorian style timber chimneypieces and in the front rooms are pretty circular ceiling roses, which is the only elaboration of the plasterwork.
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The mosque has an area of 1500 square meters, and has two northern and southern gates. The northern gate is 13 meters tall and surrounded by remnants of two brick minarets that are decorated with turquoise tiles. Only one third of these minarets survive; they were constructed in such a way that swinging one minaret would cause the swinging of the other one. The southern gate of the mosque is 7 meters tall and decorated with colorful plasterwork.
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Interior Former Tudor hall, later the kitchen, retains a moulded plaster ceiling decorated with rib work and part of figured frieze; open fireplaces, one with early C18 mantle. C18 front room with earlier C17 panelling (brought from elsewhere in the old house) and similarly a fine carved chimneypiece with elaborate coat of arms and crowned supporters inscribed below Holophernies and Judith with date 1585. Elaborate C18 plasterwork to entrance hall including doorcase, niches, chimney- piece etc. Naturalistic classical ceiling.
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In 1943, Major T P Buckland, the Camp 60's new commandant, and Father Giacombazzi, the Camp's priest agreed that a place of worship was required. Two Nissen huts were joined together to form a makeshift chapel. The prisoners, under the leadership of prisoner Domenico Chiocchetti, did all of the work to transform a simple corrugated iron structure into a work of beauty. The chapel was lined with plasterwork and an altar was made out of concrete.
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In 1981, the Reagan administration undertook a private fund-raising campaign to extensively renovate the White House. Hoping to raise $200,000, the project raised $822,641, and Nancy Reagan oversaw a $730,000 project which largely renovated the private living quarters and restored hundreds of antique furniture items throughout the Executive Mansion. The floors, paneling, and plasterwork in the room all were assessed and underwent conservation to ensure their longevity. Mrs. Reagan made only minor improvements to the East Room, however.
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It has an elaborate, compartmented ceiling with ornate fibrous plasterwork, all by the Mural Decoration Company. There is also notable engraved glass by Cakebread & Robey in the doors separating off the residential part of the building. This floor was previously used as a church,Alive Chapel International but has recently been renovated into an expansive luxury apartment.YouTube video of the little seen first floor of The Salisbury The bar area has a compartmented ceiling with cast-iron columns.
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Both this landing and the one at the top of the stairs are finished with square marble tiles. The end posts at the top of the stairs are simple, square plinths with a marble top and additional plaster flower bowls. The upper landing extends the width of the hall to form a narrow balcony, around which the balustrade of the staircase continues. Square plasterwork panels set into the end wall at this level conceal air- conditioning ducts.
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Substantial additions were made to the house in 1871 by Alexander Ross. Electric lighting was first installed in 1883, drawing power from a dynamo turned by water from the River Divie. The interior plasterwork was extensively remodelled between 1928 and 1932 under the direction of John Wittet CBE, president of the Inverness Architectural Association and Lord Provost of Elgin. Renovation work by Ronald Phillips and Partners, sensitive to the original design, removed substantial parts of Ross's addition in 1964.
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Badshahi Mosque stands across the Hazuri Bagh from Lahore Fort. Badshahi Mosque is renowned for the carved marble and elaborate plasterwork that are used throughout the mosque's interior. The mosque is located adjacent to the Walled City of Lahore, Pakistan. The entrance to the mosque lies on the western side of the rectangular Hazuri Bagh, and faces the famous Alamgiri Gate of the Lahore Fort, which is located on the eastern side of the Hazuri Bagh.
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The barbican was built at the beginning of the 14th century and contained a guard-room on the first floor. The barbican contains numerous putlog holes from its construction, although these would have been masked by exterior plasterwork in the medieval period. A passageway led up from the barbican to the gatehouse, probably originally guarded by a drawbridge and containing the accommodation for the castle's constable. The castle bailey contained a number of buildings by the 14th century.
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Until the early 21st century the building contained 17th century glass, which has been removed to the Bowes Museum. Some flagstones of unknown date were discovered in situ in the cellar or basement of the castle in 2002. Internal renovation took place in 1740, so that the interior now has important mid−18th century features, such as Palladian plasterwork and Rococo details. In 1864 the main staircase was rebuilt and the west wing was given a new front.
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Decorations inside the house include murals by Allyn Cox and Athos Menaboni as well as carvings and plasterwork by Herbert J. Millard. Several features of the house including the murals in the dining room and the balustrade in the central hall incorporate chinoiserie design elements. The Architectural League of New York gave the house an honorable mention award in 1932. The house was covered in national magazines of the time including Architecture, House & Garden and Town & Country.
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Some plasterwork still survives on the dome's underside The tomb's interior features 8 portals that offer access to the interior from the outside. The interior was renowned for its lavish use of white marble and precious stone inlay, which has since disappeared. The inner dome ceiling is decorated in a high plaster relief of interlacing patterns, some of which still survives. The floor was once paved with red sandstone, though this was removed during the Sikh period.
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The tomb did not attract much attention from British colonial authorities, although a staircase in the shrine that had been destroyed by the Sikhs was rebuilt in 1905, while the floor's brick work and the ceiling's plasterwork were repaired. The shrine was protected by law for the first time in 1912 by British authorities. The gardens and its causeways were repaired by the British in 1920–21. The garden was further restored in 1924–25 and 1930–34.
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Among the municipality’s sightseeing points of interest is Saint Apollonia’s Catholic Branch Church at Auf dem Höfchen 2. This is an aisleless church from the 18th century that was expanded about 1895 and again after 1945. At Hauptstraße 20 stands a house with plasterwork, said to be from 1799. Through the local youth social club’s efforts, a memorial was erected in the summer of 1922 in memory of those who fell in the First World War.
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All the seats were covered in a faux-leopard skin material. A modernisation in 1967 removed many of the original features, with all of the ribbed plasterwork from the balcony to the proscenium replaced by smooth finishes. A refurbishment in 1998 included new versions of some lost details, including the figures, and seating upholstery pattern. The first widescreen (screen ratio 1.66:1) installed in Great Britain was premiered on 14 May 1953; the film shown was Tonight We Sing.
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86 ;Chote Khan ka gumbad This tomb considered to be built in "classic proportions" is located next to the Bade Khan's tomb, which has a wonderful well maintained interior. The exterior walls of the tomb, particularly at the entry, has carved plasterwork. ;Kale Khan ka gumbad This tomb is dated to 1481 AD as per an inscription on the Mihrab inside the tomb. Kale Khan was a courtier in the Lodi period during the reign of Bahlol Lodi.
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As part of the renovations, the unique facade was hidden behind sheets of metal in an attempt to give the building a more modern look. However, its Spanish-Renaissance style interior is well preserved. The main auditorium has three tiers of seating plus boxes, elaborate lighting and ornate plasterwork decoration; items of heritage value include statuettes, the terrazzo flooring and the grand marble staircase. In 1957, the Odeon Cinema with 670 seats was added to the theatre complex.
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In 1899 a fire completely destroyed the building. Its present appearance is a result of restoration work that took place starting in 1902 and the last one in 2004, when the original plasterwork of the capitals was restored. The reconstruction was possible since small fragments of the original capitals were discovered, which made the reproduction possible. Opposite the entrance hangs a painting by Vicente Cutanda called Miracle in the synagogue (Milagro en la sinagoga), painted in 1902.
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It was the first tornado to hit the downtown area since weather record keeping began in late 1878, or unofficially at any time in the city's history. Major repairs and restoration took less than two months, working around the clock. Because the ornate plasterwork on the ceiling could not be repaired, drywall and molding were used to re-create the same designs. The original painter from the 1996 opening was found to repaint the repaired sections.
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It was transformed in 1747, when Lord Foley bought decorative features of the chapel at Cannons, Lord Chandos' palace at Edgware. He then employed mould-makers to reproduce its plasterwork, making the church one of the finest baroque churches in Britain.Bill Pardoe, Witley Court: Witley Court and Church: Life and luxury in a great country house (Peter Huxtable Designs Limited 1986), 6. Unlike his father and three younger brothers, Lord Foley did not sit in the House of Commons.
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Just three years later, in 1664, it was burnt to the ground by the James Graham, 1st Marquess of Montrose. In more recent times cannon balls fired by Montrose's men have been found in the immediate proximity of the house. It was soon rebuilt and later underwent further additions, including a porch, entrance hall, billiards room, kennels and stables designed by Sir Robert Lorimer in 1895. The entrance hall and billiard room include fine plasterwork ceilings.
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King George III was entertained by George Coventry, the 6th Earl, in the house's Saloon. A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace. To the east of the saloon is the Tapestry Room. This was designed in 1763–1771, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by François Boucher and Maurice Jacques, and made by Manufacture Nationale des Gobelins.
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The upper levels of 12 Logan Road retain original lathe and plaster walls, ceiling roses, timber stairs and fireplaces with timber mantelpieces. Much of the internal fabric in this part of the building is decayed and plasterwork has fallen off walls and ceilings. The first floor is a single open space with metal storage racks suspended from the framing of the floor above. The second floor is similar in layout to the office levels of 10 Logan Road.
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The Alcazar Hotel is a historic building in the Cedar-Fairmount district of Cleveland Heights, Ohio. The hotel was built in 1923 in the Spanish-Moorish style, based on hotels such as the Alcazar and Ponce de Leon in St. Augustine, Florida. The interior courtyard, with a covered arcade, is decorated with colored glazed tiles and a central fountain. The architect was Harry T. Jeffery; sculpture, decorative plasterwork, and fountain was done by Fischer and Jirouch.
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The collection of church monuments is particularly fine: most of the persons commemorated are members of the family of the Earls, connections of theirs, or household officers. Features of interest include the 16th century gallery, the manorial pew of the Earls of Bath (Renaissance in style) and two ceilings of Italian plasterwork. The tomb of Lady Fitzwarren and the monument of Rachel, Countess of Bath (with figure by Burman) are in the south chancel aisle.Betjeman, John, ed.
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The interior walls of the early Baroque building are embellished with painted prayers, visible after conservation removed covering layers of paint. The vaulted ceiling is embellished with baroque plasterwork wreaths and garlands. Before the Nazi occupation of Poland, the synagogue boasted a widely-admired, wooden, baroque Aron Kodesh. When the building was planned, the design was considered by some diocesan officials to be too beautiful for Jews to have, which led to delays in the synagogue’s construction.
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The Society opened the restored house as a museum interpreting the daily lives of wealthy Philadelphians at the time of the American Revolution. Today, the rich history of the Powel House may be seen in its decorative arts collection, its portraits of Powels and Willings, and its formal, walled garden so typical of Colonial Philadelphia. Its beautiful entryway, ballroom with bas-relief plasterwork, and mahogany wainscoting give the house its reputation as perhaps America's finest existing Georgian Colonial townhouse.
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More recent works include the addition of a new elevated viewing gallery which is especially popular with spectators during the annual timiti (firewalking) festival. Another major addition is a three-storey annexe building sited to the rear of the temple. This annexe has a separate entrance on to Pagoda Street, with an elaborate facade featuring traditional sculptural plasterwork. The spacious building has a fully equipped auditorium and facilities for weddings, multimedia presentations, corporate meetings, seminars and cultural events.
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Though fairly drab on the outside, looking like a six-story office building, except for its marquees and gaudy electric sign over the main entrance, the Princess was elegant inside. A blend of Georgian and French Renaissance styles, the auditorium contained fourteen rows of seats, twelve boxes off the proscenium arch, and was hailed for its excellent acoustics and sight-lines. The decor included neoclassical inspired plasterwork and antique French tapestries hung from the side walls.
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Exquisitely wrought cast-iron grilles, in the same intricate floral design as the frieze, were revealed after years of being covered by bland shop signs. The missing pieces were restored by a Malaysian craftsman. Though the walls of Stamford House were in a good condition, 50% of the plasterwork and cornices were damaged. Most of the wooden floor boards in the building were rotten and had to be replaced with chengai (Balanscarpus heimii), a tropical hardwood.
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A toilet block containing earth closets with a nightman's stair was also constructed in 1899. These extensions reflect the expansion of the Department at this time, particularly the growth in accommodation for entomologists and plant pathologists, as this area of plant science was to continue to expand in response to Queensland's growth in primary production. In 1900 criticisms of plasterwork (specifically the external rendering over old brickwork to form quoins) led to a royal Commission of Inquiry.
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The Upper Chamber is the meeting room of the Society. The speaker's lectern has been dated to the 1820s and may have been built specifically for the Hall. The simplicity of the carved mantels, window moldings, doors and deep paneled wainscoting emphasizes the drama of the ornate plasterwork ceiling medallion which is based on a template designed by Asher Benjamin. It is a medallion of holly leaves surrounded by swags of smaller leaves which are framed by delicate filigree.
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Another comprehensive restoration of the building (under Bürk) and plasterwork investigations (under Jung) took place 1995-1997. This saw inter alia the roof covered with hand-split spruce shingles, ventilation and alarm facilities installed, the walls replastered and the pews restored. The interior of the chapel (altarpiece, retable, Gothic sculptures, processional, etc.) has been restored in keeping with its previous appearance. The outdoor area with its exposed foundations and boulders, as it is today, dates from this period.
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Tin ceilings were introduced to North America as an affordable alternative to the exquisite plasterwork used in European homes. They gained popularity in the late 1800s as Americans sought sophisticated interior design. Durable, lightweight and fireproof, tin ceilings were appealing to home and business owners alike as a functionally attractive design element that was readily available. Important critics such as John Ruskin, George Gilbert Scott, Charles Eastlake and William Morris debated the implications of faux materials.
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In the 16th century, a new highly decorative type of decorative internal plasterwork, called scagliola, was invented by stuccoists working in Bavaria. This was composed of gypsum plaster, animal glue and pigments, used to imitate coloured marbles and pietre dure ornament. Sand or marble dust, and lime, were sometimes added. In this same century, the sgraffito technique, also known as graffito or scratchwork was introduced into Germany by Italian artists, combining it with modelled stucco decoration.
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Examples are preserved today at Owlpen Manor and Rodmarton Manor, both in the Cotswolds. Modern ornate fibrous plasterwork by the specialist company of Clark & Fenn can be seen at Theatre Royal, Drury Lane, the London Palladium, Grand Theatre Leeds, Somerset House, The Plaisterers' Hall and St. Clement Danes Corrado Parducci was a notable plaster worker in the Detroit area during the middle half of the 20th century. Probably his best known ceiling is located at Meadow Brook Hall.
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The octagonal library is entered from the east end of the cross hall. The library is furnished by a pair of built-in arched bookcases, features an elaborately molded plasterwork cornice, and measures roughly 18 by 22 feet. The dining room is on the opposite end of the cross hall and is the same size as the parlor. Other rooms on this floor include the smoking room, sewing room, a large butler's pantry and adjacent storage room.
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The newly restored, highly theatrical lobby of the St Ermin's Hotel with undulating balcony and rich plasterwork. The St. Ermin's Hotel in St James's Park, London was originally a horse-shoe shaped mansion block built in 1887–89 to the designs of E. T. Hall (1851–1923).The Builder, 25 June 1887 (pp. 948–49). Mansion blocks (high-status, serviced apartments) were first seen in Victoria Street, London in the 1850s and remain a feature of the area today.
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The chamber is decorated with elaborate plasterwork, brass chandeliers and decorative carvings on oak benches. The civic collection of silver, some of which dates from the 15th century, lines the wall of the corridor outside the chamber. An imposing Italian marble entrance leads to the Edwardian Ballroom, which former poet laureate Sir John Betjeman described as "magnificent". The ballroom has a Wurlitzer Publix One theatre organ with 4 manuals and 20 ranks of pipes, specified by Jesse Crawford.
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In the 19th century, it was enlarged and castellated, serpentine bays added to the canal, and an unusual polyhedral sundial given a place of pride on a sunken lawn. Other additions were a gothic porch bearing the Aylward crest and a conservatory. The stable-yard and the castellated entrance to the demesne are attributed to Daniel Robertson. The interior preserves much of its 18th-century character and features including a Georgian staircase, Gothic plasterwork, and a Victorian drawing-room.
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It has large Ionic pilasters and a segmental pediment. The arms of Lopes and an iron balcony top the round-arched doorway. The west front has bays arranged in a 2:3:1:3:2 format, whereas the south front has a 2:3:2 arrangement. The interior was partly gutted by fire in the 20th century, but the 18th century staircase survived as did some of the plasterwork and some 18th century moulded door architraves.
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The house is in a good state of preservation internally. The plasterwork to arches & ceiling cornices is also in good condition. The brass, porcelain-tipped picture rails & several of the large brass curtain rods are still in position. Electric servants bell-pushes are still in position in most main rooms, although the original bell-board has disappeared & some of the gas brackets are still intact from the time when the house had its own gas generating plant.
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The place has provided and has potential to continue to provide an educational function.Clive Lucas & Partners 1985:33 The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales. It is an exemplary example of the 19th century builder's art embodied in the quality of the stonework, brickwork, timber selection, carpentry and joinery, plasterwork, hardware etc. The construction of the stone geometric staircase is unique in Australia.
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Early 19th century plasterer at work - painting by John Cranch (1751–1821) Plasterwork is one of the most ancient of handicrafts employed in connection with building operations, the earliest evidence showing that the dwellings of primitive man were erected in a simple fashion with sticks and plastered with mud. Soon a more lasting and sightly material was found and employed to take the place of mud or slime, and that perfection in the compounding of plastering materials was approached at a very remote period is made evident by the fact that some of the earliest plastering which has remained undisturbed excels in its scientific composition that which we use at the present day. The pyramids in Egypt contain plasterwork executed at least four thousand years ago, probably much earlier, and yet existing, hard and durable, at the present time. From recent discoveries it has been ascertained that the principal tools of the plasterer of that time were practically identical in design, shape and purpose with those used today.
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Ground floor windows are topped by entablatures decorated with swags, and topped by projecting cornices. The interior continues the high quality workmanship, with decorative plasterwork and woodwork, and a stained glass window at the landing of the main staircase. The house was designed by Lewiston architect William R. Miller, and was is first residential commission. It is an extraordinarily rich Colonial Revival building for a relatively modest formerly industrial village setting in the state, but also typical of Miller's flamboyant style.
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The landmarked interior features murals by Willy Pogany and one balcony level all under an expansive vaulted plasterwork ceiling. With a seating capacity just over 1,100, the theater has been home to both plays and musical productions in its ninety-year history. Producer John Golden leased the theatre and renamed it for himself from 1932 to 1937 (when he moved to the Theatre Masque next door). The Shubert Organization then assumed ownership and initially leased the theatre to CBS Radio.
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Like the exterior, the interior originally demonstrated a high level of finish. Many of the architectural elements were taken from pattern books, such as those by Minard Lafever and Asher Benjamin. Most of the wooden details, such as base boards, stair banisters, and door facings, have now been removed or vandalized. Details that have survived intact are the Greek Revival casings that survive on some of the window and door openings on the upper floors and finely contoured plasterwork crown moldings.
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The main entrance is framed by simple moulding and topped by a transom window. The building has a central hall plan, with original wide floor boards, plasterwork, and fireplaces. Some of the upstairs rooms have swinging walls mounted on strap hinges that can be moved to create a large ballroom. The tavern was built in 1773 by Daniel White, and was in use as a tavern when the French Army marched through the area in 1781, camping just to its north.
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The grand foyer is an impressive single volume with richly ornamented walls and ceiling; predominantly Spanish Gothic with Baroque effects, such as the use of Rococo plasterwork and large mirrored surfaces. It is approximately long, wide and three-and-a-half storeys high. The doors leading from the entrance hall open into the western corner of the space. To the left stands a recent ticket and snacks counter which, along with various signage, is not considered to be of cultural heritage significance.
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Grand Neoclassical interior by Robert Adam, Syon House, London Inside ornament was far more generous, and could sometimes be overwhelming.Jenkins (2003), xv; Musson, 31 The chimneypiece continued to be the usual main focus of rooms, and was now given a classical treatment, and increasingly topped by a painting or a mirror.Musson, 84–87 Plasterwork ceilings,Musson, 113–116 carved wood, and bold schemes of wallpaint formed a backdrop to increasingly rich collections of furniture, paintings, porcelain, mirrors, and objets d'art of all kinds.
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There have been considerable further alterations since the 17th century. In 1787–88, George Gwilt rebuilt the west wall and replaced the tower in brick and in 1826–27 James Savage installed round-headed iron-framed windows in the north wall and replaced the vaults, ceilings and plasterwork. In 1848–49 he added a cupola to the dome and cut windows through the chancel vault. In 1849, the 17th century woodwork was sympathetically augmented and adapted by W. Gibbs Rogers.
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Girouard, p199. Thus, the hall, dining room and Octagon Drawing Room would fulfil those roles. The hall retains more of its original neoclassical decorative features than many other rooms in the house; the walls' plasterwork panels and ceiling are all original, as are the Spanish mahogany doors (these had been removed during the 1920s, but were returned to the house in 1954). Only the white marble fireplace is not original to the house, but salvaged from the now demolished Panton Hall.
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Also described by one historian as the best in the county is the rare three-deck pulpit, also of the 18th century. The pine screen between the nave and chancel has a "splendid" and "wonderfully naïve" painted plasterwork Royal Arms in its tympanum, repainted in 1845. Such examples, painted straight on plaster and mounted on woodwork, are unusual in Sussex. The north chapel was built in 1619 by Henry Shelley as a vault and private chapel for the Shelley family.
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It can be used for casting and laminating. Besides its popularity in sculpture, jesmonite is popular in other areas where casting and molding are common, such as architectural stone and plasterwork that has a requirement to be very lightweight, taxidermy, archaeology, and palaeontology. A 2016 Financial Times article described jesmonite's increasing use in interior design, seeing it as a natural-looking alternative to plastic for "high-end" goods. In 2017, jesmonite was named "Material of the Year" by the London Design Fair.
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The central hall has elegant woodwork, with an arch supported by large consoles, paneled wainscoting, and a dentillated cornice, details which are echoed in the second floor hall. The public downstairs rooms feature similar woodwork, with elaborate mantelpieces. The plasterwork in the northwest room feature a period mural, depicting the Chinese court punishments and the Buddhist cycle of hell. The second-story room was documented in 1879 to have artwork depicting the West Indies on its walls, but this work has been lost.
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Once completed, it met the requirements of Milwaukee's growing Polish Catholic population by seating 2,400 members and was the city's largest church. Artist Tadeusz Żukotyński painted the first painting in the church, The Martyrdom of St. Josaphat, in 1904. Decoration on the interior was completed in 1928 by artists Conrad Schmitt and Gonippo Raggi. Detailed oil paintings depicting biblical scenes adorned the walls and inner dome, while ornamental plasterwork finished in gold leaf set the columns, and ornate stained glass covered the windows.
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Other examples include the ceiling at Prestongrange House, undertaken in 1581 for Mark Kerr, Commendator of Newbattle, and the long gallery at Pinkie House, painted for Alexander Seaton, Earl of Dunfermline in 1621. King James VI's arms and plasterwork in the great hall at Muchalls Castle Scottish estate houses were increasingly adorned with paintings, including portraits, landscapes and later classical, genre and historical paintings.C. Christie, The British Country House in the Eighteenth Century (Manchester: Manchester University Press, 2000), , pp. 213–15.
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It which was built, probably by John Strahan and completed by William Halfpenny, with plasterwork by Thomas Paty, in 1742 as a private chapel for John Cossins who had purchased the local manor house, Redland Court, which served as Redland High School until 2017, though it was not consecrated until 1790. The chapel eventually became the parish church when the parish of Redland was separated from Westbury-on-Trym in 1942 and, unusually, has no dedication to a patron saint.
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The Church of St Mary Magdalene is a 12th-century church in the Wyken area of the City of Coventry, in the West Midlands of England. The church is a grade I listed building, though churches in ecclesiastical use are exempt from listed building procedures. The church was originally built in the 12th century CE, and the original doorway and nave and chancel survive. The nave roof dates to the 15th century, but is covered by 18th century plasterwork on the interior.
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Owlpen Manor is the Gloucestershire home of Sir Nicholas and Lady (Karin) Mander, and their family. Since 1974 they have repaired the manor house and outbuildings, with the cottages and estate. They have re-created the formal Stuart gardens and introduced family and associated Cotswold Arts and Crafts collections. The manor contains a series of rare painted cloth wall-hangings dated about 1700, illustrating the life of Joseph, as well as several notable features, including Tudor wall paintings, panelling and plasterwork.
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It was further rebuilt and extended in the 15th & 16th centuries. The wall paintings and plasterwork were lost at the time of the Reformation and the original 12th- century chancel was rebuilt in the late 19th century. Of special interest is a very fine late 15th-century carved screen, uniquely carved on both sides, and still almost complete. Like many Devon churches, St Thomas' has a fascinating series of intricate carved pew ends, variously dating from the 14th, 15th and 16th centuries.
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Each unit has two chimneys at the ends of the main block, and a third in the ell. The entrances are set in recessed openings at the centers of the facades, and appear to be early 20th- century Colonial Revival replacements. The interiors of both units have retained a significant amount of original woodwork and hardware, including plasterwork, Greek Revival doors, stair rails, and newel posts. The house was built in 1836 by two masons, Oren Wardwell and Daniel Trickey.
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Most windows are sash, with a multilight top sash and a single-pane lower sash, a distinctive Prairie School touch. The interior retains high quality woodwork and carved plasterwork, including staircase balustrades and builtin cabinetry. and The house was built in 1913 by Peck McWilliams, a master builder who may also have been responsible for its design. The American Foursquare, particularly with clear Prairie School features, is not commonly found in Connecticut, and this is a particularly high quality example of the form.
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All date originally from the Jacobean mansion, but are likely to have been significantly altered by John Crewe and then extensively reworked by Blore in neo-Jacobean style. They were restored to Barry's designs, usually with little attempt to reproduce the Jacobean appearance, probably because records of most of the original designs were lacking. Crace performed much of the decoration work in these rooms. All the state rooms contain elaborate plasterwork and stone chimneypieces, often flanked with Corinthian columns or pilasters.
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Their grandson, the eighth Baronet, succeeded as seventeenth Lord Sempill in 1884 (see the Lord Sempill for earlier history of this title). The titles remained united until the death of his grandson, the 19th Lord and tenth Baronet, in 1965. Designed in the L plan, as was Muchalls Castle, which is located in the same region, Craigievar is noted for its exceptionally crafted plasterwork ceilings. Craigevar, Muchalls Castle and Glamis Castle are generally considered to have the three finest ceilings in Scotland.
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It has an 'A' classification from the New Zealand Historic Places Trust, designating it as a building whose preservation is of the utmost importance. Of particular interest is the interior plasterwork which incorporates Maori details in an amalgamation of Neo-Greek and art-deco styles. Likewise the exterior bas-reliefs depicting 20th-century armed forces and personnel are in a style which mixes Neo-Greek with Art-Deco. The bulk of the building is English Portland Stone with detailing in Coromandel granite.
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Visitors could see butterflies and moths flying about, feeding, and emerging from chrysalises. There was also a colony of large ants (kept with the butterflies), a small tropical bird aviary, and a small gallery of reptiles, amphibians, insects and spiders. The lease on the current site expired in October 2007 and the Butterfly House closed on 28 October. Front of Boston Manor House Boston Manor House, built in 1622, is a Jacobean manor house, noted for its fine plasterwork ceilings.
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The house contains a fine example of Rococo plasterwork by Francesco Vassali and a unique collection of 18th-century Chippendale furniture and family portraits, including works by Van Dyck, Joshua Reynolds, Cornelius Johnson, and Peter Lely. A catalogue of the collection was published in 1900. On Christmas Eve 1925, a disastrous fire swept through the house destroying much of the Library and many of the pictures. Despite boiling lead pouring from the roof through the house, all those within managed to escape.
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The master carpenter Tateishi Kiyoshige travelled to Tōkyō to see which Western building styles were popular and incorporated these in the school with traditional building methods. Constructed with a similar method to traditional () storehouses, the wooden building plastered inside and out incorporates an octagonal Chinese tower and has stone-like quoins to the corners.Bognar (1995), p. 164 Traditional namako plasterwork was used at the base of the walls to give the impression that the building sits on a stone base.
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The great hall fireplace has an original plasterwork overmantel featuring egyptianesque caryatid figures and the King James Arms. One can walk erect inside the fireplace and conduct a small meeting inside with bench seating built in. The firebox also hosts the Laird's Lug, a secret listening system allowing the Laird to overhear conversations in the Great Hall from his suite above. The third level consists of a number of bedrooms: The Laird's Bedroom, The Priest's Bedroom, The Queen's Bedroom, The Queen's Winter Bedroom.
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New plasterwork must be quite dry before distemper is applied. The work should be stopped (that is, any irregularities filled up with plaster of paris mixed with whiting and water to a paste) and then rubbed perfectly smooth with glass paper. Clairecole, a solution of thin size and whiting, is then applied to render the plaster non-absorbent, and this is followed by distemper of the desired color. Distemper is made by soaking whiting in clean water to a creamy consistency.
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Such conversions were not uncommon. Several mansion blocks at that time were built offering apartments with a bathroom but no kitchen. Instead, an army of servants provided service in rooms plus communal dining, reading, and smoking rooms provided ground floor reception areas ready made for the needs of a hotel. The new owners embarked on a major refurbishment programme undertaken by the theatre architect J. P. Briggs (1869–1944), providing a spectacular sequence of public reception rooms with very rich plasterwork.
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Major conservation and repair works carried out by SCA in 1992. When restoration works commenced, the primary tasks involved the stabilisation of the plasterwork, repair of leaking parapets and guttering, the removal and replacement of white ant infested timber and the upgrading of the drainage services. Restoration works were completed in 1992 at a total cost of $250,000. Susannah Place was then handed over to the Historic Houses Trust of NSW, who undertook an interpretive fitout and opened it as a house museum.
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The reception rooms include a drawing, dining, and morning rooms; den; and another room, designated as a bedroom by the 1930s. The adjacent service area includes a scullery, kitchen, and maid's room. The bedroom wing includes a master bedroom with adjoining dressing room, three other bedrooms, bathroom, and toilet. The house interior has a distinctly heavy character brought about through an extensive use of dark-stained timber wall panelling, small windows, deep-relief plasterwork on principal ceilings, and other weighty decorative treatments.
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In the main hall the walls are decorated with plasterwork, with some original Morene Art stucco work. The flooring of the foyer and main hall is West Australian jarrah hardwood. Under the main hall is another floor with slab concrete flooring supporting "supper rooms" and opening at ground level onto the large parking area at the rear of the property. The foyer is approximately 65 square metres (700 sq ft) and the hall has 279 square metres (3000 sq ft) of dancing space.
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The Regal Community Theatre is a Scottish cinema and venue situated in Bathgate, West Lothian. The building became a listed building in 1999 and was upgraded to Category B in 2008, the decisive factor being the plasterwork by John Alexander. The Leven-based architect Andrew David Haxton designed the cinema in 1938. In 1995 the building was renovated; currently it serves as a venue for the community, offering a diverse programme of film, music, theatre, comedy, children's events and workshops.
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Stockton House Stockton House, a Grade I listed country house to the north of the west end of the village, was built by John Topp in the 1580s, after his purchase of the manor. Pevsner describes it as a "fine square Elizabethan house ... exceptionally rich in plasterwork and fireplaces". Built in banded limestone ashlar and flint, the house has a four-bay front with a three-storey porch. An attached 17th-century range, in chequered flint and stone, has a chapel and former minister's dwelling.
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The reception hall, which at one time doubled as a living room, contains a wooden stair rail with baroque scrollwork and walls that are covered with Louis XIII-style oak panelling. The drawing room resembles 18th- century interior design with lighter wood used for panelling and basic geometric lines. In the sitting room, a hidden, movable wooden wall reveals the two-story Edwardian ballroom, which features a multivaulted wooden ceiling and ornamental plasterwork. The wood that covers the ceiling was discovered during a repair operation.
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The original plans of the house by Leadbetter show a design closer in appearance to Holkham Hall, with square end towers. Adam cancelled this idea, but embellished the front with the portico. The interior of the house has fine ornamental plaster work by Joseph Rose.Detailed existing bills from Joseph Rose, 1761-63, totalling £1,139 18s 0d, are noted by Geoffrey Beard, Decorative Plasterwork in Great Britain 1975:244 The entrance hall by Adam has fluted Doric pilasters and massive doorcases in the north and south walls.
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The tradition of stone and wood carving continued in royal palaces, the great houses of the nobility and even the humbler homes of lairds and burgesses. From the seventeenth century, there was elaborate use of carving in carved pediments, fireplaces, heraldic arms and classical motifs. Plasterwork also began to be used, often depicting flowers and cherubs. Many grand tombs for Scottish nobles were situated in Westminster Abbey, rather than in Scottish churches, but there are a few examples as fine as those in England.
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After execution, the alleged corpse of Reilly was photographed in OGPU headquarters circa 5 November 1925. During OGPU interrogation Reilly prevaricated about his personal background and maintained his charade of being a British subject born in Clonmel, Ireland. Although he did not abjure his allegiance to the United Kingdom, he also did not reveal any intelligence matters. While facing such daily interrogation, Reilly kept a diary in his cell of tiny handwritten notes on cigarette papers which he hid in the plasterwork of a cell wall.
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Col. Francis Luttrell (1659–1690), younger brother. He matriculated at Christ Church, Oxford in 1676 and was MP for Minehead 1679–90. He married a wealthy heiress, Mary Tregonwell (died 1704), only daughter and sole heiress of John Tregonwell of Milton Abbey, Dorset, and the couple made many extravagant alterations to the Castle, including the addition of the carved wooden staircase and a new dining-room with elaborate plasterwork ceilings. An inventory dated 1690 survives, which lists the sumptuous fittings and furnishings at that date.
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There are two hip-roofed dormers which form part of the attic. Inside there is a nineteenth-century staircase up to the first floor. The front room of the first floor has decorative plasterwork and a mid-nineteenth century fireplace within a magnificently carved surround with cherubs, such as cornucopia and a segmental pediment with broken overmantel with the Yate/Berkeley coat of arms above it which dates to 1650. There are seventeenth century dog-leg stairs which rise from the first to the top floor.
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It had a famous stained glass window that is now in Swords. The theatre still boasts ornate stained glass windows and ceiling plasterwork which dates from the turn of the 20th century. When the bell tolled in 1811, 18 years before Catholic Emancipation; it was the first Catholic bell to ring in Dublin in nearly 300 years. This prompted the aldermen of the city to bring charges against Fr Blake, though these charges were dropped when young lawyer Daniel O'Connell came to his defence.
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Detail of Mudéjar tile work from the palace garden of Charles V in Seville. The dominant geometrical design emerged conspicuously in the crafts: elaborate tilework, brickwork, wood carving, plasterwork, ceramics, and ornamental metals. Objects, as well as ceilings and walls, were often decorated with intensely complicated designs, as Mudéjar artists were not only interested in relaying wonder, but also continued the practice of horror vacui, or a fear of empty spaces. Thus, many aspects of oriental art were packed with intricate and beautiful patterns and imagery.
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The interior is notable for the staggering mid-17th century plasterwork in the ceilings of the Great Hall and drawing room, which have heavy wreaths and disporting cherubs. The ceilings are barbaric in their excesses, and the figures are relatively poorly modelled, although the undercutting is breathtaking. Not all the moulding is of stucco: there are elements of lead and leather too. The staircase is of the same period with a coarse but vigorously carved acanthus scroll balustrade and square newels with vases of flowers on top.
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The 1980–81 alterations included an extension to the second floor and the addition of catering facilities in the basement. Two of the rooms on the ground floor east side were panelled in oak and mahogany and the Shell Room, with its magnificent ceiling painting, was among those where the plasterwork, gilding and architectural details were painstakingly restored. The first and second floors were redecorated and adorned with mainly French antique furniture and some fine paintings. The grounds were replanted and ponds and illuminated fountains were created.
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Only a trained eye, and one that knows of the architectural history, will notice a difference between the 18th and 20th century features at Marchmont. Much of the original George II period plasterwork, executed by Thomas Clayton, remains. Clayton was the best plasterer in Scotland of his time and worked for William Adam and others. He worked at many other important houses, including the Drum in Edinburgh, the Dukes Apartments at Holyroodhouse, at Hamilton Palace, the Duke's house in Lanarkshire, Blair Atholl, Perthshire and Arniston House.
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The Cotillion Room, the hotel's original ballroom, features a high domed ceiling, French window mirrors, and decorative plasterwork. The LaSalle Room and the Cheminee Lounge both originally featured high ceilings with crystal chandeliers, though the original crystal was removed from the Cheminee Lounge. The lobby and the Cotillion Room both originally had murals by George Matthews Harding; the lobby mural depicted Père Marquette landing at Peoria, while the Cotillion Room mural showed Sieur de La Salle leaving France. The hotel features 288 guest rooms.
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The ceiling retains its original plasterwork with polygonal profiling. Against the south wall, the Seafield Loft, a substantial two-storey gallery, dominates the nave. Its panelled front bears heraldic designs and foliage; it is supported by Corinthian columns at either end, and accessed by a flight of stairs at its east end. An ornate sacrament house, donated by Alexander Ogilvy of Findlater, who helped establish the collegiate church, and his wife Elizabeth Gordon, is built into the east end of the north chancel wall.
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Significant paint and plasterwork restoration has been completed around the building and 300 theatre seats were removed to make way for a flat terrace in the auditorium. The orchestra pit was also covered, except for a section that will be the future home of an antique Wurlitzer pipe organ console. The terrace and covered orchestra pit provide valuable open floor space to make the auditorium more versatile and capable of table seating. The terrace can accommodate 175 for table seating and the orchestra deck can hold 25.
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Some years later a floodlit statue of Mary was placed on the tower, forming a landmark, although it has subsequently been removed. The church was partially restored in 1927 when it was discovered that damp had taken hold on much of the plasterwork. St Mary's was enlarged slightly in 1932 with the building of the Lady Chapel and several pieces of stonework were added to both the interior and the exterior of the building. The late 1960s brought sweeping changes to the Derby landscape.
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The ante-sacristy has five oil paintings by Manuel Caro done in 1781 depicting scenes of some of the Virgin Mary's appearances. The sacristy has a painting of Saint Joseph by Joaquin Magón from 1754. The Guadalupe chapel to the side has lead figures of the Four Evangelists as well as paintings by Miguel Lucas Bedolla and Manuel Yañez. The image of the virgin is in a Baroque chamber decorated in plasterwork by Francisco Miguel Tlayoltehuanitzin between 1715 and 1740 and eight Salomonic columns.
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The main entrance, centered on the main block, is sheltered by a portico that is probably early 20th century. The front of the ell has a bay window of similar vintage and styling. The interior is very well preserved, retaining original woodwork, plasterwork, and other decorative elements. The house was built in 1811 for Joseph Story, who was in that same year named an Associate Justice of the United States Supreme Court by President James Madison; just 32 at the time, he was its youngest-ever justice.
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Kura in Kitakata illustrating protective plasterwork at eaves level The kura storehouse was specifically used to store precious items. Other sorts of storehouses such as outbuildings (naya) and sheds (koya) were used to store more mundane items. The first kura appear during the Yayoi period (300 BC – 300 AD) and they evolved into takakura (literally tall storehouse) that were built on columns raised from the ground and reached via a ladder from underneath. They were especially prevalent on the Ryukyu Islands and Amami Ōshima.
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The crypt was sold to the railway and the bones were removed for reburial at Ilford. The walls and internal columns of the church were then supported on steel girders while the lift shafts and staircase shaft for Bank station were built directly beneath the church floor. At this time, the bells were also rehung with new fittings. No cracks formed in the plasterwork, and no settlement of the structure occurred; the company later claimed that the edifice of the church was considerably stronger than before.
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The front elevation features a central pedimented Doric porch, approached via flyover steps and with spearheaded cast-iron railings adjoining. The house has 12-pane sash windows trimmed in apron-style moulding throughout; those on the ground floor are topped with consoled cornices. The plasterwork features Greek revival ornament, and there is a Doric frieze in the entrance lobby. The interior features—a square central hall with a circular first floor gallery and a domed glass roof—make this one of Newall’s greatest works.
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Ireland, p. 93; Nicolson, p. 191. Investigations after the 1992 fire have shown though that many Rococo features of the modern castle, originally thought to have been 18th-century fittings transferred from Carlton House or France, are in fact 19th-century imitations in plasterwork and wood, designed to blend with original elements.Nicolson, p. 176. The Grand Reception Room is the most prominent of these Rococo designs, 100 ft (30 m) long and 40 ft (12 m) tall and occupying the site of Edward III's great hall.
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The Salem Cross Inn is located on in western West Brookfield, on the south side of West Main Street. The main building is a large connected New England farmstead, consisting of a handsome Georgian style main house, and a series of ells extending behind it to a barn. The main house is a two-story wood frame structure, with a hip roof, central chimney, clapboard siding, and stone foundation. The interior spaces retain original flooring and woodwork, and substantial portions of its original plasterwork.
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The ante-sacristy has five oil paintings by Manuel Caro done in 1781 depicting scenes of some of the Virgin Mary's appearances. The sacristy has a painting of Saint Joseph by Joaquin Magón from 1754. The Guadalupe chapel to the side has lead figures of the Four Evangelists as well as paintings by Miguel Lucas Bedolla and Manuel Yañez. The image of the virgin is in a Baroque chamber decorated in plasterwork by Francisco Miguel Tlayoltehuanitzin between 1715 and 1740 and eight Salomonic columns.
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The 15th century structures were converted into a castellated house at the end of the 18th century by Charles FitzGerald, the first and last Baron Lecale. The castle was also lived in by his mother, Emily FitzGerald, Duchess of Leinster, and her second husband, William Ogilvie, who had been tutor to her son, Lord Edward FitzGerald. Ogilvie subsequently worked to develop Ardglass as a fashionable seaside resort and port. The old warehouses were given battlements, regular windows and the interior was decorated with plasterwork of the period.
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Sir Alexander Nisbet overextended his finances in supporting Charles I in the Civil War, and was forced to sell the property to John Ker in 1652. John's son by his second wife, George Carre, Lord Nisbet, was born here around 1700. A square tower, with fine interior plasterwork, in the classical style of William Adam was added to the west end in 1774. The house remained with Ker descendants (latterly in the person of Lord Sinclair) until the 1950s, when the estate was sold to Lord Brocket.
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The wings are recessed from the main facade in front, but extend further to the rear, giving the building an overall U shape. The interior exhibits fine Greek Revival woodwork, with a spiral staircase in the central hall, and an elaborate archway separating the two parlors. The plasterwork is as fine as the woodwork, with major examples derived from the published works of architect Minard Lafever. The property was first developed as a farm in 1802 by Robert Rose, who moved to the area from Virginia.
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All internal partitions were in solid brickwork and the pitched roof was supported on timber trusses. The ground floor is supported on rolled steel joists at 2.2m centres with concrete barrel vault arches spanning between. Tongue and groove flooring was the floor finish in most of the building, except the banking hall which had a marble floor. The banking hall had a ceiling of ornate plasterwork, other ceilings were in pressed metal sheet.FNB Bank Consultant’s Report on the Condition of the Natal Bank Building, 1989.
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The formal gardens of The Croft originally contained a sculpture of Triton by Henry Pegram. The distinctive chimneys of The Croft Collcutt also built another Grade II listed house on Totteridge Green, Fairspeir, and The Lynch House on Totteridge Common. Bridget Cherry, writing in the 1998 London: North edition of the Pevsner Architectural Guides, described The Croft as 'very picturesque' and 'a more relaxed version' of Richard Norman Shaw's 'Old English style'. The interior was described as having 'pretty plasterwork' and tiles by William De Morgan.
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The corner entrance doors are set in arched polished black stone surrounds. The entrance foyer is a double-storeyed height space which is finely decorated with white marble panels set in black marble grids, and decorative plasterwork based on diamond and star patterns. Internally, this 1930–1931 section has a concrete-encased steel structure. The entire building is encircled with a stepped metal awning, which has a sheeted soffit on Brunswick Street and a pressed metal soffit with floral motifs on Wickham and Warner Streets.
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Floor-to-ceiling windows are incorporated into the western side of the hall, the lower third of which originally could be opened to access the greenery outside. The interior of the hall has been restored with sgrafitto plasterwork, the lower areas being clad in restored panels of Trosselfels marble. For both budgetary and environmental reasons, the original transparent ceiling skylight could not be reconstructed. That being said, in terms of its outline and cubing, the restored ceiling was recreated to resemble the spatial impression of the original.
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The building is characteristic of a regional town hall, with classically inspired design and fine craftsmanship, symbolising the prominence, stability and progressiveness of the town. The building uses a variety of local timbers and is a fine example of local craftsmanship with fine plasterwork and joinery throughout the building. The place is important because of its aesthetic significance. The building has aesthetic value as a well composed municipal structure, on a prominent site which is an integral part of the Maryborough townscape and the Kent Street streetscape.
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The interior walls and ceiling are plastered, joined by coved plasterwork in the auditorium. Stairs lead from the vestibule down to the basement, which houses a large open room, from which a kitchen area is partitioned. The Ten Lots area was settled in 1774, and is roughly divided between the towns of Fairfield and Oakland. Milton LaForest Williams was raised in this community by his grandfather, Asa Bates (1794-1878), and he gave this building to the community as a church and community center.
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Detail of the frescoes in the Theodelinda Chapel in the Cathedral of Monza The Zavattari were a family of Italian painters active in Lombardy from the 14th to the 16th century. Cristoforo and Franceschino Zavattari are known as collaborators to the decoration of the Duomo of Milan in the early 15th century. The family's masterwork are the frescoes in the Theodelinda Chapel in Cathedral of Monza, work by Ambrogio and Gregorio Zavattari (1444). Unusually in fresco, the gold sky is patterned in relief pastiglia plasterwork.
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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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Following the construction of the nearby Smallbrook Queensway, the entrance building and tower were demolished in 1963, and a new modern entrance constructed. At the same time, the theatre was renamed 'Birmingham Theatre' for a time. In the 1970s it was sold to Birmingham City Council, and has since 1979 operated under the Birmingham Hippodrome Theatre Trust, a registered charity. This plain facade was refaced in the 1980s with a mock-Victorian plasterwork, whilst the stagehouse was demolished and rebuilt to accommodate larger shows.
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The top floor also has six windows, with decorative plasterwork between them, and over these is a cornice. As such, it included offices, a library, a museum, rooms for meetings and conferences, and residential accommodation for officers and members of the College. Behind the building is an enclosed garden, formed by the terrace in Prince's Gate and other terraces, in a similar fashion to other London squares. In 2010 the College sold the building to a private overseas family fund "for an undisclosed fee".
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The Spanish Mission style is continued in remaining original light fittings, furniture, joinery and floor tiles. The original main auditorium features extensive plasterwork decoration including arched windows, false balconies and door case along the side walls and a large central dome in the ceiling. Smaller theatres have been fitted below the original stage reducing the overall size of the original auditorium and requiring removal of the proscenium arch. Remnants of original plaster work decoration, however, survive behind the present screen and the theatre retains its original seating.
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The homestead features fine cedar joinery, including a highly unusual set of finely glazed entrance doors with corresponding antechamber doors, original fire surrounds, floorboards, plasterwork and French doors with fine glazing bars. The house retains a high degree of integrity and intactness and is considered to have one of the finest Georgian colonial interiors on the South Coast. Further research on its joinery may provide evidence of cultural and trade ties between NSW and Tasmania in this period. The estate was developed as a dairy farm in the late nineteenth century.
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Colonel George Mitchell D.S.O. MP unveiled the memorial on 22 September 1922. For around 16 years a board of trustees maintained the memorial, before passing it over to Wellington City Council. In 2003 a nine-month restoration took place, which involved re-securing the structure to the concrete pads that it stands on as well as cleaning, restoring plasterwork, removal of rust and replacing parts that had gone missing. The inscription on the pedestal reads: The motherland called and they went and these men died for their country.
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The parlour wing was probably built by Roger Ayshford (died 1611), whose kneeling white marble effigy can be seen in his mural monument in Burlescombe Church, and the plasterwork was probably commissioned by Arthur Ayshford (1600 – 1642/7), his eldest son, who died without male progeny, his heir being his brother John (died 1654). The owners of the building when it was listed in 1966 possessed a transcript of a 1689 inventory which showed the great wealth of the Ayshford family at that time. Mention was made of a "painted chamber".
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L’Été sans bras ("without arms") is one of the versions of Maillol's L'Été. The project started as just a torso, and in successive versions a head, arms and legs were added. The finished version (L'Été) was commission by the Russian Ivan Morozov at the beginning of the 20th century. It was one of Maillo's favourites; he said that "This piece of art is favored by Maillol who believes that "arms hide profiles"." However, for several years the sculpture remained only as the uncompleted plasterwork L’Été sans bras in Maillol's studio.
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The walls are up to 2.5 metres thick in parts. The castle was originally surrounded by a river to the east and a moat on the other sides. While it does not have a keep, the main residence is a three-storey rectangular gate building to the north, complemented by two three-quarter round towers, one to the southwest and one to the southeast. The south-western tower, known as the Ormond Tower, contains a first floor room with a fireplace on the north wall and a 17th-century plasterwork coat of arms.
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Constructed in the shape of a cross, the house is built around a central chimney, and multiple porches surround the stucco-covered exterior. The interior includes ornate plasterwork, marble mantels, and a spectacular 2 story spiral staircase. The Gothic theme is carried through many aspects of the ornamentation of the interior. After Wirt's death in 1899, the house was owned by his son and daughter-in-law, William Dabney Wirt and Garnett Pendleton Wirt, who ran a boarding school for women in the house until its sale in 1918.
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Strapwork became popular in England in the late 16th and 17th centuries as a form of plasterwork decorative moulding used particularly on ceilings, but also sculpted in stone for example around entrance doors, as at Misarden Park (1620), Gloucestershire, or on monumental sculpture, as on the frieze of the monument to Sir John Newton (d.1568), at East Harptree, Gloucestershire, and on that of Sir Gawen Carew (d.1575) in Exeter Cathedral. Wollaton Hall outside Nottingham makes especially extensive, and for some excessive, use of strapwork inside and out.
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The threshold space between the Queen Street Mall and the entrance hall is single- height, approximately six metres wide and four-and-a-half metres deep. It has a patterned terrazzo floor, marble skirting, a large, classically styled cornice and a central ceiling rose with round light fitting. An alcove on one side features decorative plasterwork in a classical style around its border, as does the lintel forming the opening between it and the entrance hall. Recent features such as signage and television screens are not of cultural heritage significance.
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Painted beams from Midhope Castle were moved to Abbey Strand, Edinburgh, and a ceiling from Prestongrange House is at Merchiston Tower, though these last two are not regularly open to the public. Two rooms in the G&V; Hotel in Edinburgh still have painted ceilings from the original early seventeenth century tenement building on the Lawnmarket.A. Crone & D. Sproat, 'Revealing the History, timber framed building at No 302 Lawnmarket Edinburgh' in Journal of Architectural Heritage Society of Scotland, 22 (EUP 2012) pp. 19-36 Painted ceilings concealed by later plasterwork continue to be discovered.
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The badges of numerous monarchs are included throughout the house, including those of Richard II, Richard III, Henry IV and Henry VII.; The badges of other prominent nobles, such as Robert Dudley, are also featured in the house. The plasterwork in the parlour displays the arms of Robert Wynn himself, and the brewhouse shows the combined arms of the Wynn and Griffith families, which are generally given equal prominence throughout the house.; Robert Wynn's arms are most prominent in the hall and the bedchambers, where the royal arms are smaller and less prominent.
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Each room had a niche to hold lamps, and a window offering a source of fresh air and natural light. The windows were designed to be narrower at the outer edge, of and larger at the inner edge in order guard against wild animals. The rooms were plastered and decorated with plasterwork and paintings. As was common at other large monasteries in the Gandhara region such as Takht-i-Bahi and Dharmarajika, a section of the monastery was set aside specifically for the production of Buddhist manuscripts, typically on birch bark, a highly perishable material.
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Rivoli Cinema The Rivoli Cinemas is an excellent example of Streamline Moderne, also known as Art Moderne, the late 1930s version of Art Deco architecture. It is the only intact surviving example in Victoria of the work of cinema specialist architects H. Vivian Taylor and Soilleaux, a practice responsible for the architecture or acoustics of more than 500 cinemas and theatres in Australia. The citation notes its impressive external brickwork and internal plasterwork. The exterior façade features distinctive horizontal banded brickwork in shades of pink and oatmeal and a vertical fin.
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The Beacham's auditorium features "square columns adorned with feathered capitals that climb gracefully to a high ceiling decorated with rectangles of intricate plasterwork." When constructed, the theater was outfitted with draperies that covered the plaster walls. The draperies had "mild tan figures delicately woven into the broad white field with an occasional soft blue figure" that were selected by Mrs. Roberta Holland Beacham, wife of Braxton Beacham Sr. The Beacham Theatre shortly after construction in 1921 Beacham outfitted his theater with innovative state-of-the art equipment from the Southern Theater Equipment Company of Atlanta.
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Forde House, Wolborough, south front Forde House, south front viewed from Brunel Road Forde House, now also known as Old Forde House, is a Grade I listed Jacobean former manor house in Newton Abbot, Devon, England. It was built in and is noted for its fine 17th-century wood-carving and plasterwork. Once the manor house of the parish of Wolborough, it is now absorbed into a suburb of Newton Abbot. The south front is clearly visible from the busy Brunel Road which cuts across the house's front lawn.
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By the late 14th century, the large curtain-walled castles had begun to give way to more modest tower houses – vertical dwellings with less formidable defences. This type of vertical house continued to be popular with Scotland's landowning class through to the late 17th century, when classical architecture made its first appearance in the country. Meanwhile, the advance of artillery pressed military engineers to devise stronger fortifications for important royal strongholds. Tower houses and castles were often given painted ceilings and decorative plasterwork in the 16th and 17th centuries, employing distinctive national styles.
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The interior of CHIJMES Hall, showing the arched ceiling and stained glass windows The early Gothic Revival style Convent of the Holy Infant Jesus Chapel has finely detailed works, such as the plasterwork, the wall frescoes and stained glass panels. The grand Anglo-French chapel was established with the support of the Catholic community in Singapore and beyond. Designed by Father Charles Benedict Nain, the chapel is one of the most elaborate places of worship ever built in Singapore. The chapel's stained-glass windows were designed by Jules Dobbelaere and were imported from Bruges, Belgium.
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The house faces St Margaret's Church and is oriented north–south on West Street, on which it is the only building to "[make] a major effect". There are projecting wings to the west and east, of which the latter has a brick entrance porch with an ogee-headed hood mould above an arch. This may have been moved here from an older building. The building is largely late-16th-century and is of timber frame construction filled with plasterwork, and with some brickwork and studding to the ground floor.
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Perhaps as a result, the hair style of the Weddell Venus is unlike that of the other versions of this Praxitelean type. Weddell returned to Newby in the summer of 1765 and commissioned first the Yorkshire architect John Carr and then, in 1766, Robert Adam to design a suitable gallery for the sculptures and other antiquities he had purchased in Rome. The result was a domed rotunda in which the Weddell Venus had a prominent niche, flanked by rectangular galleries, decorated with refined Neoclassical plasterwork and forming a top-lit Neoclassical tribune.
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Neither is Basildon remarkable for its contents. While it has some fine plasterwork, its contents, though high quality antiques, are not of the finest museum quality and its art collection consists mostly of mediocre paintings of the 17th and 18th century Italian schools, bought for their size and suitability for the decoration of the interiors rather than for their quality. Instead, Basildon is remarkable and notable for its survival against all odds in the 20th century. At a time when it was near ruin and its destruction seemed inevitable, it was saved.
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A silky oak timber staircase leads down to the basement which contains meeting rooms and an office and has a separate entrance on the northern side from the adjacent park. The upper level, reached by a silky oak staircase, contains a variety of meeting rooms. The main meeting room features a large semi-circular window, originally the location of a stained and coloured glass memorial now removed. The internal detailing of the building is not elaborate, and includes silky oak joinery, painted plasterwork and ceilings of fibreboard with geometrically placed cover battens.
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Good examples of plasterwork can often be seen in the gaping ruins of torn-down buildings- the effect is light, delicate and airy. It is usually around the majlis, around the coffee hearth and along the walls above where guests sat on rugs, against cushions. Doughty wondered if this "parquetting of jis", this "gypsum fretwork... all adorning and unenclosed" originated from India. However, the Najd fretwork seems very different from that seen in the Eastern Province and Oman, which are linked to Indian traditions, and rather resembles the motifs and patterns found in ancient Mesopotamia.
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Following the long run of Ben-Hur, in 1961 the Empire was sold to Mecca and closed for internal reconstruction to create a new cinema for MGM and a dance hall for Mecca. The building was stripped out extensively, including the removal of existing partition walls and floors. Almost all of the 1920s ornate plasterwork was removed; two small sections remained, hidden behind false walls and ceilings—one section now being behind the IMAX auditorium side wall. George Coles was the architect and G.E. Wallis and Sons was the main contractor for the new cinema.
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Above this is a proscenium arch featuring elaborate Rococo-style moulded plasterwork showing dolphins and female figures, and with egg-and-dart decoration to the architrave. Above the auditorium is an intricately patterned dome, and there are Indo-Saracenic-style onion domes on top of the two-part stage- boxes—evoking the style of the nearby Royal Pavilion. The stage and proscenium arch are now partly obscured by the new floor inserted in 1967. More Rococo decoration is found on the panelled segmented ceiling, from which a large lantern also hangs.
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After the Reformation, and the departure of the Scottish court in 1603, artists and artisans looked to secular patronage and estate houses became repositories of art and of elaborate furnishings. Estate houses were adorned with paintings, wood carvings and plasterwork. The Grand Tour encouraged the collection of classical art and the adoption of classical styles for new works that were incorporated into the Adam Style. The Baronial revival resulted a synthesised Victorian style that combined elements of the Renaissance, symbols of landed power and national affiliation with modern fittings.
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A gas pipeline crossing the Roman River just below its junction with Layer Brook In 1997, a six-month project began to demolish the concrete silos and remove the asbestos, which revealed the mill building and a four-storey Victorian granary. Both were sympathetically restored and have been converted into homes, and in 2001 the work received a Best Restoration award from Colchester Civic Society. Set back from the river is the 17th century mill house. It is again timber-framed, with three storeys, with some brick and some plasterwork cladding.
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The courthouse, which was designed by Francis Johnston in the Neoclassical style, was built between 1806 and 1809. The building was originally used as a facility for dispensing justice but, following the implementation of the Local Government (Ireland) Act 1898, which established county councils in every county, it also became the meeting place for Armagh County Council. The county council moved to Charlemont Place in 1945. It underwent complete reconstruction in the mid-1960s and by 1971 plasterwork, staircase, balusters and most of the woodwork had been replaced.
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The auditorium was restored to its full glory and plasterwork once more in its original cream and gold and colour highlights, with the ornate ceiling picked out in its original colours of gold, cream and pale blue. William Morris wallpaper was added to the principal walls. It re-opened in October 1975 with a gala performance of Die Fledermaus, televised live. A few months later the Theatre Royal also became the home theatre of Scottish Ballet started in 1969, and became the main home of the Scottish Theatre Company during its existence in the 1980s.
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The placement of the central door is slightly off-center. The interior contains functional equipment for making cider that dates to the mid-20th century, and vestigial remains of older equipment, including a conveyor mechanism for transporting apples into the mill's hopper. The attic space has traces of plasterwork, indicating it was a finished space, which was probably used for aging cider. and The property on which the cider mill sits has been used for the making of cider since at least 1783, when Silas Cossitt opened a mill across the street.
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Lucan House is a seven-bay two- storey over basement Palladian country villa. Agmonisham Vesey cleared the previous residence and began construction in 1772. The architecture is the work of Vesey and William Chambers, with Michael Stapleton responsible for the plasterwork. The estate passed through the Sarsfield, Vesey and Colthurst families through marriage and also was once the resident of Charles Hugh O'Conor, the third son of Charles Owen O'Conor and then, in 1954, it was purchased by the Italian Government for use as the residence of the Italian Ambassador to Ireland.
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For the great collector Lord Leverhulme, Macquoid designed the 'Adam Room' for the Lady Lever Art Gallery, Port Sunlight, Liverpool. The work was carried out by the London decorating firm of White, Allom and installed the year of Macquoid's death. Macquoid had adapted principal elements from two documented Robert Adam houses: the plasterwork and colour of the walls derived from the Music Room at Harewood House, West Yorkshire, while the mirror above the fireplace is based on one at 20 St James Square, London."The 'Adam Room'", liverpoolmuseums.org.
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The Steward's House in Chapel Lane, is reputed to have been built as a house for Winchcombe Abbey's manorial steward and dates from the 17th century. The interior was formerly a three-room plan with linking doors against the rear wall. The former central room retains a 2m section of a raised plasterwork frieze, the middle part of which is decorated with a vine scroll decoration: the upper margin features bursting seed pods and griffins, and the lower has foliate decoration. There is an inglenook fireplace with a moulded Tudor arched bressumer in same room.
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Original exterior details of the -story frame house include delicately built fanlights over the front doors and in the side gable ends. The interior features elaborate plasterwork and a spiral mahogany staircase that ascends from the ground floor to the third floor attic. A monumental Ionic portico was added to the front facade of the house during the Colonial Revival period by the Stewart family. The Whittaker family changed the front portico floor from wood to brick and added cast iron to the existing second floor balcony during their restoration efforts.
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The main block had 15 bays and each of the wings 17 bays each. Between each wing and the main block was a Porte-cochère for coaches to stop under. In addition to the stone from the local quarries, material, including the grand staircase and plasterwork, from the demolished Hunstrete House were used in the construction. Construction work began in 1734 to Wood's plan but disagreements between Wood and Allen led to his dismissal and Wood's Clerk of Works, Richard Jones, replaced him and made some changes to the plans particularly for the east wing.
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Townhouse Barton, south front, in 2015. The textured concrete rendering and concrete window cills hide a former Devon "mansion" of considerable age containing a fine 17th century decorative plasterwork ceiling in the ground- floor room of the east annex at right Townhouse Barton, view from north-east, in 2015 Fine 17th century decorative plaster ceiling in Townhouse Barton He was the 4th son of William Squier (c.1581-1653) (son of Christopher Squier (d.1629) of Townhouse), a yeoman, of Townhouse, South Molton, then what Hoskins (1959) calls a "mansion",Cock, p.
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The interior of the church is modeled after the mother church of the Jesuits, the Church of the Gesù in Rome, taking on a similar late Renaissance/Baroque style. It features multicolored ornamental trimmings, Corinthian columns and stained glass windows of 17 different colors added during the 1870 renovation to replace the original frosted glass. Ornate ornamental plasterwork tops Ionic columns originally painted by Italian immigrants. The plaster was restored to hues similar to those used in the mid-to-late 19th century during an extensive restoration of the church in 1999.
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Constructed as a post office and courthouse, the building originally included postal facilities on the first floor, offices around the perimeter of the upper floors, and a central two- story courtroom. The south and west corridors on the first floor both retain their original terrazzo and gray marble floors. The lobby features terrazzo floors, marble baseboards, tongue and groove wood paneling, and plasterwork above the windows and on the beams with raised gold-painted laurel wreaths and geometric patterns. The current post office occupies only a portion of the space originally designed for it.
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Harding's significant mural program consists of a series of 31 separate panels in the vestibule, elevator lobby, and rotunda area. The selection of ornamental motifs, based entirely on nautical vignettes and images of commerce, underscore the building's function. Ships, planes, conch shells, seahorses, and reclining Neptunes in George Harding's murals are all representative of the building's function next to one of the world's largest freshwater ports. The first floor follows a strong axial plan that focuses on a three-story rotunda with an elaborate plasterwork ceiling and adjacent light wells.
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When preferred materials were scarce during the Great Depression of the 1930s and the two World Wars, buckles became a low priority and manufactures needed to find ways to continue to produce them cheaply. Makers turned to wood as a cheap alternative since it was easily worked by hand or simple machinery by impressing the designs onto the wood. But there were problems using wood. Any attempt to brighten the wood’s dull appearance with painted designs or plasterwork embellishments immediately came off if the buckle were to be washed.
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The plasterwork was created by Thomas Oliver of Warrington, the woodcarving of the doorcases and staircase was by Mathew Bertram, assisted by Daniel Shillito. Much of the furniture was made by Gillow of Lancaster. Sir Peter also commissioned a number of paintings, which included full-length portraits of himself and his wife by Francis Cotes, and landscapes of the grounds and the halls by J. M. W. Turner and Richard Wilson amongst others. 2nd Lord De Tabley, painter and photographer Mrs Alfred Sotheby/Barbara Leighton (1870-1952) as an infant.
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The former office of the Governor General of Canada contains its original furnishings, and the woodwork, fireplace, and plasterwork are finished as they would have been just a decade after Confederation. The office that had been occupied by Sir John A. Macdonald contains a blue-grey Arnprior marble mantle, and the Prime Minister's furniture occupies the room. The previous Queen's Privy Council for Canada chamber holds a reproduction of the original table made at Upper Canada Village, above which hangs the same chandelier that hung there before the Second World War.
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A tea service designed by John Paul Cooper Cooper took up metalwork in 1897 on the advice of Henry Wilson, Sedding's chief assistant, who he had trained with for several years. Wilson also introduced him to gesso and plasterwork techniques. Cooper set up a workshop in Kensington, sending four pieces to the Arts and Crafts Exhibition in 1899 but did not produce his first jewellery until 1900. He became Head of the Metalwork Department at Birmingham School of Art from 1904 to 1907 having taught there from 1901 onwards.
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Since 1990, the estate has been a Listed building of the Aberdeenshire Council. By the late 1970s, the castle interior boasted a Great Hall that has the Stuart Arms over the fireplace; a musicians gallery; secret staircase connecting the high tower to the Great Hall; Queen's Bedroom; servants' quarters and of course several splendid plasterwork ceilings. There was a collection of Forbes family portraits inside as well as a considerable quantity of Forbes furnishings dating to the 17th and 18th centuries. The castle also housed two original Henry Raeburn portraits complete with original receipts.
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The tower was restored in 1871, from which the current windows, doorways and plasterwork dates, but has been roofless since the early 20th century and as of 2010 is ruined and in what English Heritage considers to be a very bad condition. It is a scheduled monument and a Grade I listed building. In December 2016 a grant of £160,000 was secured from Historic England to enable restoration work to begin with an aim of completing the work by September 2017. A shield of arms is displayed on the outer wall.
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Internally the eastern terrace survives relatively intact beyond the front shops and retains its fine mid C19th geometric timber stair and most of its joinery, flooring, plasterwork and one chimney piece. Beyond the front range of building is a large timber floored iron roofed hall. The roof sheeting is visible from below and is supported by a row of fine wrought iron trusses, spanning clear across the space. These trusses in turn support a raised central roof with clerestory windows either side extending almost the full length of the hall.
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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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Although the apartments were not in the final construction, and the number of store-fronts was reduced to two instead of four, the auditorium design remained largely intact. In the auditorium, seating came to approximately 2,000 seats. Spanish- Moroccan plasterwork was incorporated into the theater's design, and colors of gold, green, blue, and browns were dominant in the lobby, foyer and auditorium's paint scheme. A marquee and vertical blade over the entrance greeted patrons, flanked with 2,000 incandescent bulbs."2,000 Bulbs in Sign", Daily Sentinel, Rome, New York, December 8, 1928.
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Norwich, 483–484; Jenkins, 597–598 There are several fine plasterwork ceilings, the most spectacular in the Great Parlour on the first floor, and the Oak Room below it. There is 18th-century painted Chinese wallpaper of different tree, bird and flower designs in three bedrooms, in very good condition. At roof level there is a room believed to be that "with no ears", where the 1st viscount plotted with Parliamentary leaders in the years before the Civil War.Norwich, 483–484; Jenkins, 597–598 The gardens have long herbaceous borders, at their best in summer.
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The chhatris on the four corners are octagonal. The palace had suffered subsidence in the past and also partial seepage (plasterwork and wall damage equivalent to rising damp) because of waterlogging, which have been repaired under a restoration project of the Government of Rajasthan. The hills surrounding the lake area, towards the north east of Jaipur, have quartzite rock formations (with a thin layer of soil cover), which is part of the Aravalli hills range. Rock exposures on the surface in some parts of the project area have also been used for constructing buildings.
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The suburb is known for its Georgian parish church Redland Chapel, which was built, probably by John Strahan with plasterwork by Thomas Paty, in 1742 as a private chapel for the local manor house, Redland Court, though it was not consecrated until 1790. It eventually became the parish church when the parish of Redland was separated from Westbury-on-Trym in 1942 and, unusually, has no dedication to a patron saint. It is a Grade I listed building. The Swedenborgian church in nearby Cranbrook Road was erected in 1899 and has recently closed.
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There is a raked timber floor, sloped more steeply at the northern end of the building. The side walls are lined internally with vertically-jointed tongue and groove timber boards to dado height, and above this have early plasterboard panels with decorative "classical" mouldings between the timber arches. There is a small stage the southern end of the auditorium, with a proscenium arch in plasterwork with "classical" motifs. On either side of the stage, angled to direct focus to the rear wall, are large, early plasterboard panels with decorative "classical" mouldings.
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While live venues had fan-shaped auditoria and deep stages behind the proscenium arch the Mayfair has the characteristic rectangular auditorium and originally small space behind the proscenium of a cinema. It was decorated with exuberant plasterwork by Robert Wardrop (1858–1924) which remains a striking feature of the interior.Registration report, New Zealand Historic Places Trust, Heather Bauchop,12/8/2008, p. 8. There are solemn faced caryatids, resembling respectable Dunedin matrons and personalised naked putti. It was modified for sound in 1934 and renamed the Mayfair Theatre.
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Von Bock House, University of Tartu, retrieved 29 December 2013 The mural was accompanied by an exhibition of photographs that was shown at the windows of the house in 2007. The photographs were arranged by Alan Madisson and featured notable academics from the university.von Bock house (in Estonian), Tartu University, retrieved 29 December 2013 The renovation of the house was completed at a cost of three million kroons in September 2007. Four years after the renovation the plasterwork of the building developed cracks which seemed to have been caused by subsistence.
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Stable block The long gallery, along the west front of the upper floor, was completed by the end of the 16th century. When Dame Margaret Constable was given leave to 'walke at her pleasure' in 1610, the Long Gallery would have been sparsely furnished, and probably remained as such throughout the 17th century. However, its panelling dates from the late 17th century, as does the marble fireplace. Its elm and mahogany bookcases were installed in the 1740s by Cuthbert Constable, and the neo- Jacobean plasterwork on the ceiling and frieze dates from the 1830s.
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Another imprecise term used for the material is stucco, which is also often used for plasterwork that is worked in some way to produce relief decoration, rather than flat surfaces. The most common types of plaster/Powder mainly contain either gypsum, lime, or cement,Franz Wirsching "Calcium Sulfate" in Ullmann's Encyclopedia of Industrial Chemistry, 2012 Wiley-VCH, Weinheim. but all work in a similar way. The plaster is manufactured as a dry powder and is mixed with water to form a stiff but workable paste immediately before it is applied to the surface.
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The gatehouse viewed from inside the courthouse The gatehouse is a two-storied, 17th century building with exposed timber and plasterwork, constructed in a distinctively local Shropshire style.; It features elaborate wooden carvings on the exterior and interior doorways, including angels, the biblical characters of Adam, Eve and the serpent from the Garden of Eden, as well as dragons and other nude figures. It was designed as essentially an ornamental building, with little defensive value. The south tower forms an unequal pentagon in shape, and has three storeys with thick walls.
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There is an Ionic entrance portico on the west front. During the Glorious Revolution of 1688, William III of Orange stayed in the house during his march from Torbay to London, and received a loyal declaration from peers and an address from the Corporation of London. Interior finishing was ongoing however as the plasterwork of the saloon ceiling bears the date 1690; bearing the arms of Freeman and of Baxter, William's spouse. Its confident bold relief tempted Geoffrey Beard to ascribe it to London plasterer William Parker, whose comparable work at Denham Place is documented.
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Geoffrey Beard, Decorative Plasterwork in Great Britain(London: Phaidon) 1975:52. Following Freeman's death the estate passed to John Cooke his nephew, a merchant, dilettante and amateur architect, who under William's will changed his name to Freeman. He was an early member of the Society of Antiquaries, built the Gothic folly in the grounds and the Freeman family mausoleum in the village based on the design of the tomb of Caecilla Metella in Rome. He buried a time capsule of contemporary artefacts in a mound resembling a round barrow on the estate.
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He worked confidently in a classical idiom in his country houses, when necessity or the spirit of place demanded it, as Norman Shaw, Edwin Lutyens and, in the Cotswolds, Guy Dawber had done. The Lindens, Norwich (1921), and The Garden House, Westonbirt, are some of his most successful essays in a whimsical, vernacular classicism, with characteristically fine plasterwork detail and restrained use of mouldings. He travelled whenever he could in Italy, making sketches of architectural details, lettering, farm carts, landscapes and village scenes. Many of these are now at Owlpen Manor in Gloucestershire.
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St Mary's Cathedral in the Victorian Gothic style In the 1860s, architecture in Sydney focussed more on style than consideration of the building's function in relation to its setting and climate. An increase in Italian immigrants influenced residential construction which manifest itself in a growing popularity of surface ornamentation, plasterwork, squared massing, arcades and loggias, and square towers. The simplicity of early colonial architecture was replaced by decorative facades using ornate cast iron with higher ceilings featuring elaborate mouldings. The Queen Victoria Building in the Victorian Romanesque style.
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The Greater London Council bought three of them, carried out major structural repairs and sold them on to private clients. In 1994 conservation architects Roger Mears Architects were appointed to repair and/or reinstate the hugely significant plasterwork, panelling, doors, windows and other joinery and to return the houses to use as single family dwellings. New brick ground floor frontages replaced the shopfronts, to a design appropriate to the elevations above, and the first floor brick cornice was reinstated. Residential London, particularly outside Westminster and the City, is essentially an 18th or 19th-century city.
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Polshek Partnership Architects restored surviving sections of the original theatre and EverGreene Architectural Arts restored plasterwork and reconstructed missing parts. With 622 seats the new Biltmore has about two-thirds of the capacity of the old venue, although it now boasts modern conveniences such as elevators and meeting rooms. The Biltmore's landmarked features, such as the proscenium arch, dome, staircases and a vaulted second-floor gallery, were restored or replicated. The theatre was renamed the "Samuel J. Friedman Theatre" in a dedication ceremony held on September 4, 2008.
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The interior was designed in the style of the era of Louis XVI, with a Pavanozza marble lobby with plasterwork panels. The arch of the proscenium stage consists of perforated plaster treated with art glass, and was designed to be lit during performances. The arch still exists as of 2007, although the lighting feature is no longer in operation. The Cort Theatre opened on December 20, 1912 with Laurette Taylor starring in the play Peg o' My Heart, which ran for 603 performances, an auspicious start for the new venue.
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The interior features exposed beams, paneled fireplaces, and period plasterwork, and underwent a major restoration in the 1960s, when it first became a museum. The Damariscotta area was first settled in the 17th century, but permanent settlement did not begin until 1748 due to repeated conflicts with Native Americans. This house was built in 1754 by Nathaniel Chapman, a housewright and half-brother of the area's first permanent settler, Anthony Chapman. Both were natives of Ipswich, Massachusetts, and Nathaniel was convinced to come here by his brother to build houses for the early settlers.
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A History of the Castles of Herefordshire and Their Lords, pp. 88-92. London: Longman and Co. Although it looks predominantly Elizabethan on the outside, it has many features of different periods. It was 'renovated' in the 16th century by the Vaughn family and houses a fine example of an intricate plasterwork ceiling in the solar, thought to be one of the oldest in Herefordshire. There are many green men and serpent hounds to be found on this ceiling, a lot of the detail is picked out in gold.
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To prevent this, these and other architects installed tension rods from the springing point up, on a more shallow rake, to be fixed some distance along the lower chord of the truss. These rods were exposed as at the Athenium Theatre. It was only after the Great Depression when a new style of decorative architecture later known as Art Deco took hold, that the whole truss, including the tension or tie rods, were covered beneath by generally, plaster ceilings. (The sloping side segments including the tie rods were now hidden by stepped plasterwork).
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The garden front to the south west is similar in design and decoration with a central entrance approached by a double flight of steps with wrought iron balustrades. The house is particularly noted for its Baroque interiors, plasterwork by Francesco Vassalli and the Adam style dining room.Shropshire John Newman and Nikolaus Pevsner (2006) p398 Lady Elizabeth Blount had married the 9th baronet and she brought up their family here. Afterwards she attracted much attention as an exponent of the flat earth theory, conducting convincing, but flaws experiments to prove the claim.
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Inside the house, the entrance lobby has decorative plasterwork in Adam style including roundels, fan vaulting and an oval ceiling.Scran: Domestic Architecture Retrieved 14 May 2012. At the back there is a dogleg staircase which has a cast iron balustrade; above this is an octagonal lantern. Viewfield House had substantial grounds surrounded by trees in the nineteenth century, as shown on J. Wood's 1823 town plan, and (illustrated) the 1854 Ordnance Survey 1:1056 map, which also shows the staircase extension on the south side of the house.
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The carvings on the exterior of the council house, including the seated female figure of Justice above the entrance, were designed by Henry Charles Fehr. The council chamber inside the building was fitted out with fine neoclassical plasterwork as well as Ionic order columns and pilasters. A wooden board listing all the town mayors who have served since 1377 was erected on the wall of the council chamber ante-room. In 1916 during the First World War, the mayor, Mary Slater, was hit by shrapnel and subsequently died from her injuries during an attack on the council house from a Zeppelin.
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The London firm of Morris Singer & Co Ltd cast central sculpture and bronze panels over the doors but the flame surrounding the sculpture and the bronze grilles on the lower windows were made in Australia by Castle Bros, while Kell & Rigby themselves produced the bronze nails studding the doors. Homebush Ceiling Works made the ceilings and supplied the 120,000 stars for the dome, the latter being gilded by A. Zimmerman. Kellor and Yates completed the plasterwork. The Electrical and General Installation Co was responsible for the electrical installation and Nielsen and Moller made the light fixtures.
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The new entrance facade, with its upstairs loggia, pedimented towers and flamboyant stucco decoration, took its inspiration from the buildings of the Italian Renaissance, while the interior, with its ceiling paintings and ornate plasterwork, combined Baroque and Elizabethan elements. An ingenious feature also found in Matcham's theatre in Buxton, Derbyshire, was what was known as a "sunburner". This consisted of a main roof air vent about a large circular glass window in which there was originally a gaslight. As the window heated up, it caused the air around it to rise and then fresh air would rush in through vents to replace it.
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The present theatre’s location is Edinburgh’s longest continuous theatre site, for there has been a theatre in that location since 1830. From being Dunedin Hall, the Royal Amphitheatre, Alhambra Music Hall, the Queen’s Theatre, Pablo Fanque's Amphitheatre, and Newsome’s Circus, the site became the Empire Palace Theatre, the first of the famous Moss Empires’ chain, opening on 7 November 1892. Designed by the great British theatre architect, Frank Matcham, (who built the London Coliseum, among others) its décor was lavish, with elephants with Nubian riders, nymphs and cherubs in abundance on the plasterwork, and it seated 3000 people on four levels.
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Modern timber framers incorporate new technologies, like the circular saw shown here, to increase productivity and reduce labor costs and time. Traditional building trades commonly include masonry, timber framing, log building, traditional roofing, upholstery, carpentry and joinery, sometimes plumbing, plasterwork, painting, blacksmithing, and ornamental metal working (Bronze and brass). In addition to "hands-on" skills and knowledge of building processes, traditional trade practitioners incorporate knowledge of historic preservation, materials science, historic architecture, and procuring replacement materials. Contemporary practitioners of traditional trades must also avail themselves of modern technologies, current materials science, and 21st century construction project management.
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A drive approaches the main house from the southeast, which is separated from a landscaped park by a strip of trees. The house has two storeys faced with flint and stone chequerwork, with five bays under a slate roof, and central glazed doors set within a modest Tuscan portico. It has a dining room described by Pevsner as "a splendid mid C18 room with a proud chimmneypiece and wall panels of tapestry framed in plaster". The doors feature pulvinated frieze and pediments, and the walls inside the house feature entitled plaster cornice with frieze, and baroque plasterwork, dating to the late 1740s.
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The Italian artists known as the School of Fontainebleau were hired in the 1530s by King Francis I of France to decorate his showpiece Chateau at Fontainebleau. In the course of the long project, etchings were produced, in unknown circumstances but apparently in Fontainebleau itself and mostly in the 1540s, mostly recording wall-paintings and plasterwork in the Chateau (much now destroyed). Technically they are mostly rather poor—dry and uneven—but the best powerfully evoke the strange and sophisticated atmosphere of the time. Many of the best are by Leon Davent to designs by Primaticcio, or Antonio Fantuzzi.
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The south, garden front, is plainer, having a pediment but no columns. The Royal coat of arms of Scotland in the pediment may have come from Parliament House in Edinburgh, which was refaced at the beginning of the 19th century, around the same time that the porch and stair were added. Overall, the design of the house shows the influence of James Gibbs, and particularly his Down Hall, Essex. The most significant interiors are William Adam's two-storey, galleried saloon, with decorative plasterwork by Joseph Enzer, and the Rococo dining room and drawing room, by the Adam brothers.
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Bodysgallen Mostyn Hall, Flintshire The major houses built in the 16th and earlier 17th centuries are often difficult to classify on stylistic grounds. The Welsh families who built them often were less interested in the outside display of architectural features and more interested in the interior decoration, particularly elaborate plasterwork, painted walls and elaborately carved woodwork with armorials commemorating their family descent. Many of these houses such as Bodysgallen, which was started in 1620 and Mostyn Hall are an amalgamation of different styles of architecture over many years. The front is of 1631–1632."Hubbard" (1986), 400–1.
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Mulock gave Lyle a budget of $750,000 and the simple instruction "Build me the finest theatre on the continent." He also, however, insisted that the theatre be built on a steel frame, as a demonstration of the products of his foundry. Lyle greatly overspent his budget, but delivered a structure described in later years as "an Edwardian jewel-box." The interior featured an Italian marble lobby; Venetian mosaic floors; elaborately carved walnut and cherrywood stairs and railings; silk wallpapers; ornate, gilded plasterwork; and an enormous sounding-board mural ("Venus and Attendants Discover the Sleeping Adonis") by the popular Canadian painter Frederick S. Challener.
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The first house on the site was a pele tower built by the Redman family in around 1350. Much of the present building dates from the Elizabethan era, when the Bellingham family extended the house. The Bellinghams, who were responsible for the fine panelling and plasterwork in the main rooms, sold the house and estate in 1689 to Colonel James Grahme, or Graham, Keeper of the Privy Purse to King James II, who made a number of additions to the house in the late 17th century. His son Henry Graham was a knight of the shire for Westmorland.
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This Boardroom is marked as such on the original 1929 plans and it is now being hired out by the theatre's Dominion Events department for meeting, training and conference bookings. Other areas above the main foyer, which the Rank Organisation converted to office space, have been restored and now house 'The Studio' a rehearsal and audition space. The auditorium currently has a seating capacity of 2,069 in two tiers of galleries, down from the 1940 capacity of 2,858 following the closure many decades ago of the upper circle. The theatre retains its 1920s light fittings and art deco plasterwork.
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Coldham Hall is a large Tudor country house that was constructed in 1574 for Sir Robert Rookwood (or Rokewood) of Stanningfield. A notable feature of this two-storey building is the great hall, with a long gallery in the roof space some 32 metres long, running from east to west. Internal alterations undertaken around 1770 include a Roman Catholic chapel with delicate plasterwork, leading from the long gallery. Mid-nineteenth century alterations, including loggias on the east and south side, are now removed, but various window alterations at the rear and a service wing at the north end remain.
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The new hotel was designed by Boardman to be spacious, luxurious and to have installed the latest modern fixtures and fittings of the time. Boardman also incorporated into the design of the new hotel part of the interior decoration of the former solicitor's offices which had stood on the site. The offices had contained a particularly fine example of a plasterwork ceiling laid on oak lath measuring by . This section of ceiling had been very carefully removed and was installed in the new first floor drawing room in the hotel, along with French casements to the balcony.
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Each panel originally contained a painted lunette or medallion by Theodore de Bruyn, depicting a classical scene in grisaille. The walls too have plaster panels which contained medallions, matching those of the ceiling. In 1845, the room was redecorated by the architect David Brandon, who replaced Bruyn's paintings with polychrome depictions of Dante's Divine Comedy. The walls to which Brandon added mirrors, however, retained much of their 18th-century plasterwork. In 1929, the owner, George Ferdinando, stripped the dining room of its painted panels, mirrors, fireplace and doors and sold them to a firm of architectural antique dealers, Crowther's.
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The hall was not fully restored, but instead a new ceiling was created, the hall divided in two, some of the plasterwork restored, and some left in its damaged state. This work won two Royal Australian Institute of Architects awards in 1995. A further expansion took place in the 2000s on the Carlisle Street side completed in February 2008, incorporating the dividing glass wall removed from the hall, opening it up again. The Town Hall sits in an unusually spacious setting, with sweeping lawns and a circular driveway leading to the grand front staircase and portico.
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Facing west with three spacious windows, his studio is the largest, grandest and best lit room in the chateau; like the library downstairs, it still has its original highly ornate seventeenth century sculpted plasterwork and mouldings, but all rendered in bright white. Picasso also brought in two industrial lamps to guarantee the quality of light. Commentators have said that Picasso tried to recreate at Vauvenargues the same conditions as in Spain: the intense light, the brilliant primary colours, the austerity and the rugged setting. The bedroom of Jacqueline has a simple bed in the defiant yellow and red colours of the Catalan flag.
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There was a Romano-Celtic temple north of where the parish church now stands, and probably a Romano-British settlement and shrine as well. The shrine was used successively by Roman pagans and Christians. A small square temple was built in the first century AD. This was replaced with a more substantial building that had moulded stonework and decorated plasterwork, and a rectangular perimeter wall was added that enclosed an area around the temple building. Numerous notable bronze artefacts have been discovered at and around the site and are now housed in the Ashmolean Museum in Oxford.
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It is notable for its fine plasterwork and still contains many original pieces of furniture."Avondale House & Park", Wicklow Gardens, January 24, 2014 The American Room is dedicated to Admiral Charles Stewart (1778-1869), Parnell's American grandfather who commanded the USS Constitution (now moored in Boston Harbor) during the War of 1812. The woodlands were renewed in 1904 when the estate was sold to the government. The house was used as a forestry school and the grounds planted with a great variety of trees, the most successful being conifers from the Pacific coast of North America.
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Track plan of 1902 The entrance station at its opening was built in the style of the other Palatine stations that were built in the 1860s and 1870s, inspired and equipped accordingly with external plasterwork. In accordance with the importance of the station it has a relatively large gable facing the tracks and the street. It has two and a half floors that were originally equipped with staff accommodation and administrative offices. Directly next to it there was a two-storey goods shed, which was created with the sloped part of the roof facing the station.
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It shows John Bibb's skills as a later Regency/early Victorian designer, and this transitional aspect is of real interest showing a high degree of creative achievement. The surviving 19th Century interior reveals fashionable taste and detail, especially plasterwork, stencilling and sklights. The remains of the 1830 chapel interior give further significance to the interior, and reveal acceptance of building re-use and adaption. The School of Arts was an important educative and social centre for Sydney's intelligensia in the 19th century and its character and spaces still demonstrate aspects of an earlier way of life.
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There were also external and internal modifications made to the 18th century west wing. The internal modifications included enlarging ground floor and first floor rooms by removing internal walls, enlarging windows, creating west-facing bay windows and stripping the plasterwork in the ground floor room of the tower to make the original stonework a feature. Externally the west wing was made to look grander with the addition of angle turrets and dormer windows. There was further major expansion of the building at this time with the addition of a north wing which resulted in the formation of an inner courtyard.
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Victorian and Edwardian theatres were almost always built to segregate patrons at each level, although subsequent modernisations often eradicate this. This has thus far not been the case in the King's, which still has separate entrances, some of which have traces of former pay boxes, now disused. The standard of seating and decoration is also less luxurious as you get further up the house. The Stalls and Grand Circle are accessed via the small main foyer, which still impresses with its barrel vaulted ceiling, horizontal bands of red and white marble, and decorative plasterwork on the ceilings, including caryatids.
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Between 1995 and 2001, the arts council/corporation conducted a series of phased projects to repair and stabilize the infrastructure of the building. Phase 1 of a new renovation series was completed in 2004, replacing all the seating with new, historically accurate seats; adding alabaster lighting fixtures to the auditorium; and restoring and painting a side-panel of plasterwork. Over $1 million has been spent on theater improvements to date, funded by donations and the New Jersey State Council on the Arts. Plans for future renovations include restoring and repainting the auditorium's decorative plaster, an expanded lobby, and backstage improvements.
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Lord's Gym, Location - Vancouver, WALord's Gym (Former Uncle Milt's Pizza) (Vancouver), Wikimapia Some of the plasterwork went to the Robin Hood Theatre in Sherwood, Oregon, which was being rebuilt and was subsequently renamed the Sherwood Oriental Theatre. The Oriental Theatre was demolished in February or April 1970, making room for parking at the Weatherly Building. It was lamented as an "amazing old theater was tragically demolished to make way for another parking lot, an irreplaceable loss for the city of Portland".Bryan Krefft Oriental Theater (Portland) As of 2019, the space formerly occupied by the Oriental is still a parking lot.
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The sarbineh is a large octagonal hall and has an octagonal pool in the middle, separated by 8 pillars from the outer section. There are four pillars in the garmkhaneh, which make smaller bathing rooms all around as well as the entrance section to the khazineh (final bathing room) in the middle. The interior of the bathhouse is decorated with turquoise and gold tilework, plasterwork, brickwork, as well as artistic paintings. The roof of the bathhouse is made of multiple domes that contain convex glasses to provide sufficient lighting to the bathhouse while concealing it from the outside.
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The Pirnia traditional house is a perfect example of this region's desert houses in terms of architecture and art and was constructed in the Safavid Period. The house consists of an exterior, an interior, a deep garden, a silo room and all of the facilities that a lord’s house needed to have at the time it was constructed. When you enter the house and pass the first corridor, you reach an octagonal room called “hashti”, which used to be a waiting room for clients and visitors. Paintings, plasterwork of Qur'anic stories, a book of poems and calligraphy decorate the living room.
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Built as a summer property by George Hammond, the house is a well-preserved local example of the Shingle Style of architecture. It is more important, however, for its construction method, which is a rare example of a "mill-built" residence, using techniques more commonly found in mill buildings to retard the advance of fire. It is built with heavy timbers, and has no walls with open voids where fire might pass with little notice. These techniques are not unlike construction methods found in First Period colonial housing, with exterior planking and sheathing, and no interior plasterwork.
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Clandon House interiors, completed in the 1740s, featured a two-storey Marble Hall, containing marble chimney pieces by the Flemish sculptor Michael Rysbrack, and a rococo plasterwork ceiling by Italian-Swiss artists Giuseppe Artari and Bagutti. Clandon Park was landscaped by Lancelot 'Capability' Brown in 1776–81, replacing a French garden and transforming part of a disused canal into an ornamental lake. A porte-cochère was added to the principal facade in 1876. A sunken Dutch garden was created by Frances, Countess of Onslow at the north front of the house in the late 19th century.
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Loft 523’s style has been described by Frommers as “Jetsons-futuristic-meets-New York City-minimalist fantasy,” incorporating modern design, as well as elements that reference the building’s origins. A desk in the lobby was made from cypress beams salvaged from the renovation, and the rooms feature stained concrete floors and doors clad in hand-hammered copper. Elements of the original structure can be seen throughout the building, including exposed plasterwork, cast-iron columns, and raw timber beams. Revealing elements of its history as a warehouse, many of the rooms have twelve-foot ceilings and full-length windows.
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Internally, Nomadic was fitted out to a similar standard as the liners Olympic and Titanic, which she was built to serve. As such, she had more luxuries than most tenders of her day, with cushioned benches, tables, porcelain water fountains, sex-specific bathrooms and a buffet bar. She contained ornate decorative joinery and plasterwork, particularly in the first class lounges of the ship. Nomadic was built in the United Kingdom, but as she was operated in French coastal waters by a French crew, she had a number of peculiarities, such as imperial and metric draft marks on opposing sides of the hull.
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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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John Parker inherited the house in 1743 and along with his wealthy wife, Lady Catherine Parker, (who largely funded the remodelling), clothed the building with symmetrical Palladian facades which cover the Tudor origins of the house. The interiors of the house were given delicate touches including Rococo ceiling plasterwork in the Entrance Hall, Morning Room and Velvet Drawing Room. John Parker the second, (Lord Boringdon), succeeded his father in 1768 and a year later married Theresa Robinson. Her husband's interests included drinking and gambling but Theresa, her sister, Alice and her brothers Frederick and Thomas took an interest.
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Papworth was married to Charlotte (née Searle), the daughter of the potter Robert Searle, and had twelve children. He described himself as an "architect, plasterer and builder", his background being in decorative plasterwork, and he dominated the trade in London in the late 18th century, employing more than 500 men. His eldest son, Thomas, carried on the business after his death, and his second son, John Buonarotti Papworth also continued the family tradition, being described as "one of the most versatile architects and decorative artists of the period". His third son, George, was likewise an architect, active mainly in Ireland.
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An interesting Victorian feature in this room became exposed when plasterwork was removed from the north facing elevation below the tall window. This work revealed an apparent continuation of the same tall window to ground level. However, closer inspection of the standing fabric and the carpentry work of the hidden window frame have confirmed that the former Georgian window sill appears to have been removed at some time and the existing window frame extended to ground level. The scarred walling that remained from this work happened to have been in-filled with red brick and stone.
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The theatre's Spanish and Italian Baroque revival style interior was designed by Nestor Castro. The theatre has unobstructed seating, a $25,000 Wurlitzer organ, an advanced cooling and heating system, one of the largest cantilevered balconies ever built, velvet seats, gilded balconies, and grand staircases. Either because or in spite of the theatre's ornate interior—decorative gold plasterwork, stained glass and ironwork—the St. George is noted for near-perfect acoustics. It is not uncommon, to this day, for a performer to stand beneath its six-story proscenium and remark on how beautiful the theatre looks and sounds.
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After the siege referred to above, the upper storey and battlements of the ancient Castle were removed to render it indefensible. A medieval appearance becoming fashionable again during the 19th century, the Castle, which had become known as Atholl House, was raised in height and adorned with battlements once more. The many alterations in the fabric are largely concealed by the white harling (roughcast) on the walls. The collections of furniture, paintings, historical relics, weapons, embroidery, china, Highland artefacts and hunting trophies preserved in the Castle are among the finest in Scotland, as is the plasterwork and other décor of the principal rooms.
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The property was donated to Preservation North Carolina in the early 1990s. Opening Coolmore to the general public at this time is not realistic, due to the fragility of its signature oval stairwell, Trompe-l'œil paneling, elaborate plasterwork, and decorative painting. So the property has been leased long-term to resident curators, direct descendants of the original builder who open it periodically by appointment and take care of routine operating and capital needs. Preservation North Carolina has taken responsibility for developing a conservation plan for the property and for dealing with the extensive artwork in the main house.
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Hawksmoor's great hall, with its high, bare walls and flanking vestibules and Corinthian columns, was sub-divided in the 19th century by Sir Thomas Hesketh, who inherited the property from his uncle, to create an upper storey containing three bedrooms. The principal drawing room, the only heavily decorated room in the house, has also seen change in the form of decorative plasterwork carried out by Artari in the mid-18th century for Thomas Fermor, 1st Earl of Pomfret (1698–1753), comprising a high-relief ceiling matched on the walls by huge scrolled panels and picture surrounds, with trophies containing hunting emblems.
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During the 1860s the building was fitted with gas lighting, which resulted in damage to woodwork and plasterwork, and some of its wooden fireplace surrounds were replaced by marble ones. In the early 20th century there was talk of replacing the mansion, but the state decided instead to renovate and enlarge the structure. A two-story addition was made to the rear in 1908–09, plumbing was added to the main block, and the main stair was rebuilt to accommodate access to the addition. In the 1970s it again needed major refurbishment, owing in part to inadequate support for the 1908 addition.
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In 1977 it was restored with funding from the New Zealand insurance company State Insurance, and for many years it was known as the State Opera House. The original interior plasterwork in the upper foyer, restored in 2016. In the 1990s and early 2000s the building was operated by the St James Theatre Trust, which ran the nearby St James Theatre. In July 2011 Positively Wellington Venues, an integration between the Wellington Convention Centre and the St James Theatre Trust, began managing the theatre under the new name of The Opera House along with five other venues in the capital city.
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The building interior houses municipal offices in the basement and first floor, while the upper levels are taken up by the facilities of the opera house, which include a lobby, large auditorium, and backstage area. The auditorium features original period Baroque plasterwork, and a painted curtain. with The building is a fine example of a somewhat common trend in Maine's municipalities at the turn of the 20th century, the construction of a multipurpose building housing both city offices and a performance and meeting venue. This hall was designed by George G. Adams of Lawrence, Massachusetts, and was built between 1898 and 1902.
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This was probably due to the architects already having a history of sourcing consistently good quality stone from the quarries there, as well as the availability of heavy duty steam saws to handle the notoriously difficult stone. The interior contains several varieties of English ceramic surfaces - tessellated floors and glazed ceramic wall tiles. The semi-circular Council Chamber is fitted with wood panelling and Art-Nouveau-style electric light fittings, while stained glass is a feature of all the main rooms. The ceilings throughout all the main floors are ornamented with good quality plasterwork, the Great Chamber being the most elaborate.
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A severe fire in January 2005 caused substantial damage to the north aspect of the castle, including the main dining room, library, rear entrance hall, two bedrooms and adjoining dressing rooms and bathrooms and the Servants' Wing. Restoration work commenced in the spring of 2006 and is now more or less complete. The restoration work by specialist contractors consisted of substantial repairs to the ornate stonework and windows, the installation of new floors at first, second and attic levels, significant steelwork, and a new roof structure to match the existing roof. Electrical, plumbing and heating installations as well as plasterwork were also renewed.
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Castle entrance The entrance to the castle is quite dramatic and involves a steep climb around the rocky base. Lutyens' original slope was unprotected by either rails or fences in an attempt to emphasise the exposed nature of the site. When the future George V and Queen Mary visited in 1908, it is said they were alarmed by the slope and the cobbled surface. Once inside the castle, the entrance hall is sectioned off by large stone pillars, somewhat reminiscent of a church nave with the dark reddish-brown of the stone contrasting with the whitewashed plasterwork.
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For Gimson, architecture and the crafts were vitally interdependent. He describes how, as part of his training under Gimson, he was encouraged to draw a different wild flower every day from nature, noting its essential characteristics and adapting it to a formal pattern suitable for modelled plasterwork, wood-carving or needlework. Jewson soon became an invaluable member of the group, and a pupil, friend and close companion of Gimson in his later years. In 1911 he married Ernest Barnsley’s daughter, Mary (1889–1966), and converted for himself a group of cottages at Bachelor's Court in Sapperton.
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Between 1670 and 1676 the substantial alterations included the addition of the two front towers and the grand staircase, in addition to extensive internal modifications creating lavish staterooms with magnificent plasterwork ceilings. Lauderdale had Bruce retain much of the castle's earlier fabric giving it an external aura of antiquity, while the interiors met the highest fashion in seventeenth century planning and furnishing. This allowed Lauderdale to revere the antiquity of his family residence at the same time as living in high contemporary fashion.C. Wemyss, "The Art of Retrospection and the Country Houses of Post-Restoration Scotland", Architectural Heritage XXVI (2015), p. 26.
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Built in the southwest corner of the downtown square, she was the flagship of a chain of vaudeville and moving picture theaters constructed to tap into the wealth generated by agriculture and mining in Southern Illinois. The Orpheum Theatre sat over 900, and was ornately decorated in a mix of Renaissance and Neoclassical styles, complete with gold leaf, elaborate plasterwork, and a multicolored terra-cotta facade. The Orpheum was quite successful until the advent of television. Decreasing profits forced the Orpheum to exclusively be a motion picture theater in the mid-1950s and to close in 1971.
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The house and setting is physical evidence of the pattern of land settlement and leasehold farming in the Maitland area. It contains elements of high individual and often unique quality, including a domed stairwell and geometric stair of unique quality and design in Australia. The place is perceived by many knowledgeable people to be one of the major sites of cultural significance in Australia. On a regional basis the building is an historic landmark (monument). It is an exemplary example of the 19th century builder's art embodied in the quality of the stonework, brickwork, timber selection, carpentry and joinery, plasterwork, hardware etc.
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The "handsome and boldly-carved design" includes pilasters with lions on the bases flanking paired double doors with arched heads and satyrs in the spandrels, and also incorporates carved cherubs and grotesques, and painted panels to the external (landing) face; it is surmounted by a central emblem. The carved wooden panelling above the stone fireplace incorporates four painted portraits, including Henry VIII and Sir George Cotton, and dates from the 16th and 17th centuries. The remaining panelling in the library is not original. The hammerbeam roof is concealed by a decorated plasterwork ceiling, probably dating from the 17th century.
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Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859. The 4th Baron Penrhyn died in June 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet.
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The house was originally built in 1683-4 for Bonham Hayes (-1720), a successful, yeoman farmer of the Cobham area, and his wife Elizabeth. The red-brick Kentish Yeoman's house is symmetrical, two storeys high, with sliding sash and dormer windows. The house interiors date in part to 1684, and include a remarkably ornate Carolean plasterwork ceiling above the principal staircase. Having passed to Hayes's son, Richard, then his grandson (also Richard), the house passed in 1894 to the Edmeades family of Nurstead (also in the parish of Gravesend), then by marriage to the Baker family.
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The gardens at Belvedere Belvedere House and Gardens () is a country house located approximately from Mullingar, County Westmeath in Ireland on the north-east shore of Lough Ennell. It was built in 1740 as a hunting lodge for Robert Rochfort, 1st Earl of Belvedere by architect Richard Cassels, one of Ireland's foremost Palladian architects. Belvedere House, although not very large, is architecturally significant because of its Diocletian windows and dramatic nineteenth-century terracing. When Robert Rochfort decided to use Belvedere as his principal residence, he employed Barthelemij Cramillion who was a French Stuccadore, to execute the Rococo plasterwork ceilings which are among the most exquisite in the country.
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The East Room was finally completed and decorated in 1829 by Andrew Jackson. New plaster work in the form of a cornice-line frieze of anthemion (a flowerlike, traditional Greek decorative pattern) was installed, three Neoclassical plasterwork medallions affixed to the ceiling, and the demi-lune over the east wall's Venetian window removed and turned into a wall. Decorative wooden beams were added to the ceiling, and two of the east-facing windows were blocked off and fireplaces with black Italian marble mantelpieces installed in their place. The Jackson administration turned to French-born American importer Louis Véron of Philadelphia for assistance in furnishing the executive mansion.
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The Jewish House (Casa del Judío) is located in the heart of the Jewish quarter of Toledo, in Castile-La Mancha, Spain. It was built in the 14th and 15th centuries. The two areas of main interest are the courtyard, which retains a multitude of yeserias (carved plasterwork), and above all, the basement that was possibly a Jewish liturgical bath or mikveh, whose function was spiritual purification and preparation for some important event in the life of a Jew. During restorations of adjacent rooms, Almagra style hydraulic plastering has been uncovered, as well as a cistern, all of which support the theory about its use.
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Over the years, several phases of restoration work were undertaken by the Department of Archaeology, in coordination with the Dhaka Municipality Corporation. As the bed on the ornamentations and surface painting on most occasions. However, as the building is more than 130 years old, on few instances, comparatively major restoration building has been actively in use for over a century, only minor restorations were required, especially for the condensation of the plasterwork and paint. The restoration works at Northbrook Hall were more convenient for the Department of Archaeology, as the Dhaka Municipality Corporation actively supported the projects; along with the users, the local community.
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The Vernon family came to Sudbury as a result of the 16th- century marriage of Sir John Vernon to Ellen Montgomery the Sudbury heiress. The house was built between 1660 and 1680 by George Vernon, grandfather of George Venables-Vernon the 1st Baron Vernon and is notable for its superb Great Staircase, fine Long Gallery, and portraits by John Michael Wright, and of Charles II's mistresses. Inside there is a mixture of architectural styles with carvings by Grinling Gibbons and Edward Pearce, murals by Louis Laguerre and elaborate plasterwork by Samuel Mansfield, James Pettifer and Robert Bradbury. The carvings above the main entrance porch were sculpted by William Wilson.
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Between each new identity for the theater and the occasional concert, the Beacham Theatre sat unoccupied and empty. "Square columns and feathered capitals climb gracefully to intricate plasterwork" in 1991. Despite the new recognition for the theater by the City of Orlando, Mr. Juarez saw the building as a liability with many pleasant memories surrounding it, but with little economic potential. Citing maintaining the building and rehabilitation of the area, he first announced plans to raze the building for an unspecified mix-use purpose and later to redevelop the former Beacham Block with a new skyscraper that would be used as a combination office building and hotel.
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The renovations included reinforcing the mosque's ancient Umayyad foundations, rectifying the interior columns, replacing the beams, erecting a scaffolding, conserving the arches and drum of the main dome's interior, rebuilding the southern wall, and replacing timber in the central nave with a slab of concrete. The renovations also revealed Fatimid-era mosaics and inscriptions on the interior arches that had been covered with plasterwork. The arches were decorated with gold and green-tinted gypsum and their timber tie beams were replaced with brass. A quarter of the stained glass windows also were carefully renewed so as to preserve their original Abbasid and Fatimid designs.
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The south east or 'Garden' front Kings Weston House entrance front across the lawns Ceiling of the Parlour at Kings Weston House designed by Robert Mylne and plasterwork executed by Thomas Stocking in the 1760s On 29 April Edward Southwell wrote in his journal at Kings Weston "Upwards of 60 men preparing stones and digging the foundation of the new house"Journals of Edward Southwell 1684-1715 British Library. RP 437/2 and on 16 June 1712 work formally began on building the new house by John Vanbrugh. His client, Edward Southwell, did not desire a house on a monumental scale.Gomme, Jenner and Bryan, p.
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The design of the mid-eighteenth-century house by James Bridges, for Thomas Tyndall KCB, was a compromise between the separate designs of architects Thomas Paty, John Wallis and himself. This led to different classical styles: Baroque, Palladian and Rococo, for three of the facades of the house. It was built between 1758 and 1761, by Thomas Paty with plasterwork by Thomas Stocking. A later Colonel Thomas Tyndall employed Humphry Repton from 1799, to landscape the gardens which form a small part of Tyndall's Park, which extended to Whiteladies Road in the west, Park Row in the south and Cotham Hill to the north.
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A Jacobean farmhouse was remodelled: the fine Georgian mansion at Buckenhill was inherited by Mrs Elizabeth Barneby, which unusually she passed to her daughter, Mrs Phillips. The house itself possessed 15 fireplaces, for the duration that royalist Barnebys owned it, but was later altered by an influential Bromyard propertied man Packington Tomkins.Hearth Tax 1665 Made of mellow brick and constructed in 1730, a 9 bay wing was added to face south; a string course on the first floor. The matching brick style encasing the older house of plasterwork and panelling meant the new and principal wing of the house would have pedimented gables, attics and cellars.
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Charles Donald Bentinck, with the removal of Victorian plasterwork to reveal the stonework (although the medieval church would have been plastered throughout). The site of the medieval high altar was raised and converted into a burial area for the Sutherland family, who introduced large marble memorials alien to the original appearance of the building. The previous minister was the Very Rev Dr James Simpson, who was Moderator of the General Assembly of the Church of Scotland in 1994. As of May 2018, the minister (since 1998) was the Rev Susan Brown, who officiated at the wedding of Madonna and Guy Ritchie at nearby Skibo Castle in December 2000.
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The roof of the building has a prominent chimney-stack. The Ancient Priors is a "complete and well- preserved example" of a Wealden hall-house, and is more elaborate than most of the other hall-houses in the north of Sussex. It has a roughly L-shaped plan, formed by the south-facing 14th-century section and the west-facing structure built in about 1450. In the late 19th century, a small eastward-projecting extension was built at the rear of the northern side, making the building more U-shaped; this part is of brick, but the rest of the structure is timber- framed with some plasterwork.
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The main block of the old house was demolished, to be replaced from 1806, by a Gothic building, to the designs of the brothers James and Archibald Elliot. The English-Italian Francis Bernasconi carried out the ornate plasterwork of the staircase and drawing rooms between 1809 and 1812. In 1818, the old east wing was pulled down and replaced by a two-storey wing designed by William Atkinson. In 1793, John Campbell formed three regiments of fencibles, known as the Breadalbane Fencibles to help defend the land in time of need. He managed to raise 2,300 men, of whom 1,600 were from his own estate.
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The current residence, in Newtown, was designed in an eclectic style in the manner of a half-timbered Tudor mansion. As it was intended to evoke a large English country house, the house's rooms were designed in a range of styles—from Elizabethan to Tudor, to Georgian and Regency. Throughout the house are examples of what was considered good taste at the time: marble fireplaces, parquet floors, oak panelling, Mahogany doors, leadlight windows, bronze electric light fixtures and neo-Georgian plasterwork ceilings. Various portraits of successive governors and other significant people are displayed along with a collection of New Zealand art, some of which has been donated by previous governors.
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The third floor, which was designed for use by the Masonic lodge, has two storage rooms and a large function space with raised platforms on the sides, and ornamental plasterwork in the ceiling. The Eaton School was founded in 1865 by Hamilton Fairfield Eaton, and originally shared space in a Greek Revival meeting house and female academy. Rising enrollments prompted Eaton to retain Charles F. Douglas to design this building, which was erected in 1866-67, with funding support from the local Masonic lodge. Although Eaton retired in 1883, the school continued in various guises (and with some interruptions) until 1916, when the building was acquired by the local Grange chapter.
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Merchant's House is a rare example of early Victorian period Merchant's' residence with attached adjacent store in Sydney, and probably New South Wales. No. 43 George Street contains a rare example in Sydney of an intact mid 19th century first floor townhouse drawing room complete with its original fabric including moulded plasterwork, chimneypiece and grate, joinery, French doors and balcony. No. 43 George Street contains a number of rare and excellently detailed elements including a timber geometric stair and cast iron cantilevered balcony. The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.
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Gallery ceiling, Harewood House Joseph Rose, Jr., (5 April 1745 – 11 February 1799) was a celebrated plasterer (stuccoist) who worked closely with Robert Adam to create some of the finest decorative plasterwork in Great Britain. Rose was born in Norton, Derbyshire, a nephew to Joseph Rose, Sr. (c. 1723 – 11 September 1780), who was himself a noted plasterer in the Roccoco style with works including Doncaster Mansion House, Nostell Priory, Felbrigg Hall, and the drawing room at Heath Hall in Yorkshire. The elder Rose worked primarily for Robert Adam from 1760 onward; the younger learned from his uncle and from a visit to Rome in 1768.
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Its present appearance dates from 1779–89, when it was rebuilt to a design by James "Athenian" Stuart after a devastating fire. The ornate plasterwork was created by John Papworth. King William Court is famous for its baroque Painted Hall, which was painted by Sir James Thornhill in honour of King William III and Queen Mary II (the ceiling of the Lower Hall), of Queen Anne and her husband, Prince George of Denmark (the ceiling of the Upper Hall) and George I (the north wall of the Upper Hall). The Painted Hall was deemed too magnificent for the pensioned seamen's refectory and was never regularly used as such.
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Muthesius describes the fireplace as a "splendid example ... with finely composed relief decoration". Jenkins considers it "surely the world's biggest inglenook" and describes the overall impact of the room as "sensational", noting the top-lit ceiling and the elaborate Jacobethan plasterwork. Others have been less complimentary; the writer Reginald Turnor, no admirer either of Shaw or of Victorian architecture and its architects more generally, wrote of the room's "flamboyant and rather sickening detail". By the time of its construction, Shaw, increasingly working for clients of great wealth, had moved on from his "Old English" style, and the room is designed and decorated in a grander and more opulent Renaissance taste.
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Papworth was of Italian origin, and was apprenticed to the celebrated stuccoist John Rose, later starting his own business. He was employed by the Scottish/Swedish architect Sir William Chambers on a number of his projects and has been described as "his favoured stuccoist". James Stuart after a fire Papworth was master plasterer at St James's Palace and at Kensington Palace starting in 1780. He did the plasterwork in the Royal Academy Room at Somerset House, and the ornate ceilings in the chapel at Greenwich Hospital, London, when it was rebuilt in the 1780s by the architect James "Athenian" Stuart, after it had been destroyed by fire.
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The barrotes of the 18th century (left), were replaced in the 19th century by grilles decorated with ornamental motifs (right) The colonial houses of Trinidad are typified by red terracotta tiled roofs supported beyond the walls by wooden beams. Pastel-coloured paintwork for the houses is normal with wood and plasterwork details picked out in different colours to the brickwork. The large main door typically has a smaller entrance door (or doors) cut into it. In contrast to the houses of the same period in Havana the door tends to open directly onto a living area, rather than having a vestibule or entrance hall.
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One side of the Casa de Aldemán Ortiz faces onto the Calle Simón Bolívar; slightly down this road is the Cantero Palace (Palacio Cantero) one of the largest and most impressive of the houses surrounding the Plaza Mayor. Grander than most buildings nearby, it features a spacious entrance hall that opens on to a large galleried courtyard. Original frescoes survive on the plasterwork of the main hall, and a tower accessible from the courtyard gives views over the Plaza Mayor, the city of Trinidad, and the sea. The house is now used as the Municipal History Museum (Museo de Historia Municipal) which details the history of Trinidad.
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The present building is not actually a castle, but was built in the 1720s by John Fane, 7th Earl of Westmorland to the 1723 design of the architect Colen Campbell being an almost exact copy of Palladio's Villa Rotunda near Venice.5 houses have been built in Britain based on Palladio's Villa Rotunda (the others being Nuthall Temple, Nottinghamshire [demolished]; Henbury Hall, Cheshire; Chiswick House, Greater London; and Foots Cray Place, Kent [demolished]) The interior features plasterwork by Giovanni Bagutti and fresco painting by Francesco Sleter. The house is situated in a landscaped park and valley with a number of surrounding pavilions and lodges which are also Grade I listed.
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On the terrace of the palace, a garden was built with arched passages. At each corner of this palace semi-octagonal towers were built with an elegant cupola. The restoration works of the early 2000s were not satisfactory and an expert in the field of similar architectural restoration works of Rajasthan palaces carefully examined the designs that could decipher the originally existing designs on the walls, after removing the recent plasterwork. Based on this finding, restoration works were re-done with traditional materials for plastering - the plaster consists of partly organic material: a mortar mix of lime, sand and surkhi mixed with jaggery, guggal and methi powder.
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The proscenium was altered, as was some plasterwork and new stained glass windows were introduced, in a re-fit designed by Llewellyn E. Williams.Meeting of Directors, minutes, 12/7/1934, Hocken Collections. It was closed as a cinema on 25 September 1966. The building was acquired by the Dunedin Opera Company in 1967 which converted it to a live venue. The seating capacity was reduced from 862 to 413 by removing the ground floor stalls and advancing the proscenium into the auditorium to achieve a greater stage depth.Otago Daily Times, 16/10/1967 p.13. It has since been operated as a live theatre, particularly for opera.
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Previous successes with the Fine Arts Building and the Oviatt Building renovations in downtown Los Angeles and the refurbishing of the nearby Chapman Market complex on Sixth Street convinced many in the city that they were the right people for the job. The renovation of the office building was complete by 1983, but the Wiltern Theatre presented a much more difficult problem and took another two years to complete. The theater had been poorly maintained. Many of the murals and plasterwork were damaged, many of the fixtures had been sold off or pillaged, and portions of the ceiling had crashed onto the ground floor seats.
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Sand and fine gravels were added to reduce the concentrations of fine clay particles which were the cause of the excessive shrinkage.” Straw or grass was added sometimes with the addition of manure. In the Earliest European settlers’ plasterwork, a mud plaster was used or more usually a mud-lime mixture. McKee writes, of a circa 1675 Massachusetts contract that specified the plasterer, “Is to lath and siele the four rooms of the house betwixt the joists overhead with a coat of lime and haire upon the clay; also to fill the gable ends of the house with ricks and plaister them with clay. 5.
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Pearce oversaw the building of Castletown House, near Dublin, designed by the Italian architect Alessandro Galilei (1691–1737). It is perhaps the only Palladian house in Ireland to have been built with Palladio's mathematical ratios, and one of the three Irish mansions which claim to have inspired the design of the White House in Washington. Other examples include Russborough, designed by Cassels, who also designed the Palladian Rotunda Hospital in Dublin and Florence Court in County Fermanagh. Irish Palladian country houses often feature robust Rococo plasterwork, frequently executed by the Lafranchini brothers, an Irish specialty, which is far more flamboyant than the interiors of their contemporaries in England.
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Later chimneys were added, and it would then have one of the largest fireplaces of the palace, manor house or castle, frequently large enough to walk and stand inside. The hearth was used for heating and also for some of the cooking, although for larger structures a medieval kitchen would customarily lie on a lower level for the bulk of the cooking. Commonly the fireplace would have an elaborate overmantel with stone or wood carvings or even plasterwork which might contain coats of arms, heraldic mottoes (usually in Latin), caryatids or another adornment. In the upper halls of French manor houses, the fireplaces were usually very large and elaborate.
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The front of the gallery is covered by wood panelling and the coat of arms of the Seafields hangs, centred, on the front of the eastern gallery. The tall nave walls have high-up cornicing and other plasterwork details. The church has retained its original wooden floor, though it is covered in the passages with linoleum for protection from foot traffic. A carved stone sacrament house, removed from the original mediaeval church prior to its demolition, was later installed within one of the walls of St Rufus Church, and now serves as a memorial to James Duncan, a church elder who died in 1970.
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Internally the central core has set plasterwork to walls, lathe and plaster ceilings, pine floors, and a timber framed roof of corrugated GI sheeting over timber shingles. The wings are of timber, lined externally with horizontal chamferboards and internally with vertical VJ boards to walls and ceilings, and are roofed in corrugated GI sheeting. A central chimney services both floors and joinery throughout is of cedar, including the turned staircase. The interior of the core comprises a front shop, two back rooms in what was possibly the former kitchen, and a side stairwell on the ground floor with a side passage that is now a toilet.
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During the Second World War the building was converted for use as a camouflage school. In 1950 the building underwent a major restoration at a cost of £70,000 and re-opened in May 1950 as a centre for entertainment and the Arts called "The Assembly House". The restoration had been encouraged by Oliver Messel and funded by the Norwich-based shoe manufacturer H. J. Sexton. In 1995 the roof and the ceilings of the entrance hall, restaurant and Music Room were destroyed in a major fire, although much of the wooden panelling and Georgian plasterwork remained intact and many of the paintings and pieces of furniture were saved.
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St George's Masonic Centre was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria. The place is important in demonstrating the evolution or pattern of Queensland's history. The building is a rare example of a sandstone masonic temple in Queensland and demonstrates the principal characteristics of both a substantial masonic temple in Queensland and a late nineteenth century sandstone public building in Warwick. The building exhibits aesthetic qualities valued by the community, in particular; it contributes to the streetscape as a prominent monumental building and contains well-crafted elements, notably the furniture in the ceremonial hall, the stairs, the window reveals and plasterwork.
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The competition specified the "Italian Renaissance" style, but the Roman Baroque and Wren are also drawn on. Devon marble is used in the major order of pilasters and the minor order of columns, with more exotic marbles in the apse and the altars, with carvings in metalwork, plasterwork, wood and stone. It houses Italian Baroque sculpture: The Twelve Apostles by Giuseppe Mazzuoli (1644-1725) acquired from Siena Cathedral in 1895 and the Lady Altar, with sculptures by Tommaso Rues (1650–1690 ca.). The architectonical structure of the altar, originally decorating a chapel dedicated to the Rosary, was acquired from the church of San Domenico Brescia after its demolition in 1883.
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Pevsner, Buildings of England, Devon, 1991, p.153 John Davie may therefore have been a contributor to the building costs, and was possibly a user of the Exchange. The arms of Incledon and Clevland also appear, two of his sons-in-law John Davie (1640–1710) of Orleigh Court in the parish of Buckland Brewer, Devon, England, was a prominent tobacco merchant from Bideford, Devon.Tobacco Trade Bideford Chamber of Commerce website accessed 15 January 2011 His Bideford town house which he built in 1688, was Colonial House, now the Royal Hotel, in which survive several 17th- century decorative plasterwork ceilings, said by Pevsner & Cherry (2004) to be amongst the best in Devon, and a grand staircase.
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The staircase is lit by daylight through the blue glass dome above, but the tower, spire and bell chamber are adjacent; the bells resonate powerfully in the stairwell. There is ornamental plasterwork including gilt lion-heads on the second landing and arches around the three paintings on the first landing. These paintings, by J. C. Horsley and Daniel Maclise, were presented by Sir Savile Crossley in 1911, the coronation year of George V. The Maclise painting has an Arthurian theme, perhaps emphasising the moral connection made at the time between gothic revivalism and chivalry of local government. The lift beside the staircase contains doors at right angles to each other, due to awkward access.
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In 1960 the Uptown was damaged by fire, fueled by extremely flammable material on the seats. The theatre was quickly restored, but all the original ornate plasterwork in the dome, proscenium arch, boxes, and organ grilles was lost, being replaced by only smooth plaster and drapery. Theatre owner Nat Taylor closed the cinema on September 5, 1969, and renovated it, dividing the Uptown into five theatres, one of the world's first multiplexes. The architect for the multiplexing project was Toronto architect Mandel Sprachman, who later did many similar projects for rival Famous Players across Canada, including the Uptown's sister, the Imperial (now a live theatre, the Ed Mirvish Theatre). On December 25, 1969, the rebuilt facility opened.
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The building is of a rectangular Italianate design, mostly of two storeys but with a three-storey tower at the west gable with a pyramidal roof. The original design featured a porte-cochère frontage, which Ross removed and reattached to his own additions in 1871; the 1960s renovation work replaced Ross's frontage with the current porch, which reuses Playfair's original parapet, and features a pair of Roman Doric columns and a Neo-Georgian fanlight. It is constructed of pinned rubble, with polished and tooled ashlar sandstone detailing. Aside from Wittet's plasterwork, the interior mostly dates from the 1960s renovations, with little of Playfair's original work remaining other than the shape and layout of the rooms.
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In the early 1900s, Eton-educated American Charles Tuller Garland, son of the co-founder of the New York based National City Bank, decided to build a house in South Warwickshire countryside, with views over the River Avon valley. Designed by the fashionable society architect and decorator W. H. Romaine-Walker, it was inspired by Wilton House near Salisbury, and given a Palladian style. Built in 1906/7, designed for lavish entertaining, the Hall has sumptuous plasterwork, particularly in the barrel-vaulted great hall, library and dining room. Romaine-Walker also landscaped the grounds, with a Wellingtonia-lined drive leading to the hall, its manicured blue garden, polo school and other equestrian facilities.
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In the late 1970s the upper storey reverted to office space with the removal of its kitchen and it has since been used for storage. In 1985 posts were added under the floor as the joists that spanned the full width of the building had sagged. During 1986–87 rotten floorboards on the ground level were replaced and loose plasterwork was repaired or replaced. Other repairs have included: reinstatement of the partition wall between the two offices; replacement of a window in the original rear wall with a reproduction; replacement of step treads in the cedar staircase; replacement of damaged and missing plaster cornice with replica cornice and replacement of the iron roof with Zincalume.
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Like most of the other Berlin estates the Horseshoe Estate survived the Second World War relatively undamaged. In the post-war period parts of the plasterwork and the colours were lost and at first they were incorrectly restored. The authorities for the conservation of historic buildings reacted and commissioned expert reports, which were then to serve as the basis for proper maintenance work – a process which continues up to now and that is backed up by a program Nationale Welterbestätten initiated by the Germany Federal Ministry of Transport, Building and Urban Development. The Berlin estates' relatively good condition has a lot to do with the clear ownership structure which existed until the late 1990s.
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200 px Jame mosque basement Na'in Jame' mosque yard The initial construction of Jame Mosque dates back to the 8th Century CE, but the whole of the complex has been constructed incrementally. One of the oldest mosques in Iran, its magnificent plasterwork over the niche, the marvellous brickwork around the yard, and its silent basement—which may have been used as a fire temple before the mosque was built here—are only a few of the features of this mosque. This mosque has no Iwan and dome as do the other famous mosques in Esfahan and Yazd. A 28 m tall octagonal minaret was added to the mosque almost 700 years ago.
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The rotunda itself has a domed ceiling with murals and plasterwork inspired by Raphael, created by H. Siddons Mowbray. Morgan's study, now the West Library, has been called "one of the greatest achievements of American interior decoration," while the East Library features triple-tiers of bookcases. Morgan's residence was torn down in 1928, after his death, to be replaced by an annex building which featured an exhibition hall and a reading room, designed by Benjamin Wistar Morris to harmonize with McKim's original. The Italianate brownstone house at Madison Avenue and East 37th Street was built in 1854 by Isaac Newton Phelps and bequeathed to his daughter Helen Stokes, wife of Anson Phelps Stokes.
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The thoroughness with which this space was redecorated suggests that the vestibule as inherited by Lord Bute may have been heavily adapted to suit Victorian taste. As the vestibule does not open directly into the stairwell, Balfour Paul sought to ensure that it would not appear dark and forbidding by deciding to greet the visitor with a welcoming central chimneypiece in white marble facing the front door. The plan of the vestibule is T-shaped, with archways leading through from the right-hand and left-hand sides of the fireplace. The vestibule features a rosetted ceiling, highly decorative plasterwork in the Adam Revival style, and a floor of polished Caithness flagstones in octagons and squares, in the Georgian manner.
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First Minister Alex Salmond and his cabinet in the Drawing Room, 2011The present green colour scheme in the drawing room dates from 1985 when the damask curtains were introduced. The room features original elaborate ceiling plasterwork, with the frieze repeating the same festoons found in the ceiling decoration. In 1923, Lord Bute and Balfour Paul complemented this ceiling by introducing new doorcases in the same Adam style, together with an inlaid chimneypiece with a central tablet depicting Venus and Cupid and vases echoing the frieze. The new single-leafed doors replaced 19th-century double doors, which connected this large drawing room at the front of Bute House, to the back drawing room that is now the cabinet room.
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The large size and fittings of the exchange, with carved capitals by Simon Vierpyl, and plasterwork by the leading stuccodore Charles Thorpe, reflect the standing and prestige of Dublin in the 18th century. The neo- classical building contains a central entrance hall or Rotunda, with a large dome supported by twelve columns which are surrounded by an ambulatory where the merchants strolled and discussed business meetings. The function of the building was to act as the Dublin Stock Exchange and to provide a meeting place for Dublin's businessmen. It was also close to the then Customs House that stood on the site of today's Clarence Hotel, making it convenient for overseas merchants.
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The stables clock tower, and much of the interior panelling, stained glass and plasterwork to create new rooms in the house, were all recovered from the recently demolished Dragon Hotel, formerly over a bridge on the opposite side of Skipton Road. Fox extended the estate footprint through purchases of land when they became available, eventually creating an estate just in excess of . This included the provision of grazing land for sheep by the gatehouse, so that they could rest on their way to Knaresborough market. Experimenting after a trip to the United States, he refined the process for producing water gas in his basement laboratory, and began constructing a trial plant in the grounds of the property.
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The building has a high level of social significance for personnel of the Royal Australian Navy for its role as the principal residence of the Navy, and the official residence of the Flag Officer-in-Charge of the Royal Australian Navy. The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales. Tresco has scientific significance for its ability to reveal the quality and complexity of 19th century joinery, plasterwork detailing and colour schemes, in addition to its general construction. While such construction is not unique in Sydney, Tresco is a fine example of craftsmanship and residential construction techniques used in the 19th century.
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English Heritage archaeologists uncover the substantial remains of the old Jacobean house in a 2008 dig. The 9th Duke of Devonshire sold Chiswick House to Middlesex County Council in 1929,Groves and Mawrey, page 79 the purchase price being met in part by contributions from public subscribers, including King George V. The villa became a fire station during World War II, and suffered damage; vibration from the bombing of Chiswick brought down the plasterwork in the Upper Tribunal, and on 8 September 1944 a V-2 rocket damaged one of the two wings. The wings were removed in 1956. In 1948, extensive lobbying from the newly created Georgian Group prevented it from being destroyed.
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However the general economic decline of the 1820s and family misfortunes meant that only the stables and service wing, with its Flemish gables, were completed as planned. Later, in the early 1840s, Sir William Godfrey, 3rd Baronet further modified the main block of the house, adding an attic storey, a turret emblazoned with the Red Hand of Ulster, the traditional shield of a Baronet and assorted gables, pinnacles and buttresses. Inside, the main reception rooms were remodelled in the then-popular Gothic style with fine plasterwork by local craftsmen, making liberal use of the Godfrey crest. The entrance hall was dominated by a fine bust of Eleanor, Lady Godfrey, carved in Florence in 1817.
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Her sister, Anne Parr, married William, 1st Earl of Pembroke, whose grandson (the 3rd Earl, also called William) became the first Visitor of the college in 1622. Maud Green's arms are depicted in plasterwork from about 1592 at Powis Castle, owned by a kinsman of the earls. One writer has suggested that the college may have adopted the arms in order to be associated with one of the leading Welsh families of the day. This latter theory is not heraldically tenable as the quarters in an achievement after the first and pronominal quarter brought into the family by marriage to heraldic heiresses cannot meaningfully exist on their own to represent the person who now quarters them.
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At this time, Constable also acquired the plaster figures of Demosthenes and Hercules with Cerberus, and plaster busts of the Roman emperor Marcus Aurelius Antoninus and the Greek poet Sappho, from the sculptor John Cheere. Above the fireplace is a carving of oak boughs and garlands of laurel leaves, crowned by the Garter Star, surrounding the armorial shield of the Constable family in scagliola by Domenico Bartoli. The dining room was substantially remodelled by William Constable in the 1760s, who commissioned designs from Robert Adam, Thomas Atkinson, and Timothy Lightoler (who won the commission). The ceiling draws on contemporary interest in the excavations at Pompeii and Herculaneum, with plasterwork by Giuseppe Cortese.
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The University District's 1,200 single family homes were built mainly during the "golden age of housing" from 1925-1930 and 1937-1941, when construction technology was highly developed, building costs were low, and old world craftsmen were in plentiful supply. The homes reflect a wide variety of styles: English Tudor, Romanesque, Italianate, Spanish Mission, French Provincial, Queen Anne, Georgian, Federalist, Art Moderne, and contemporary. The predominant Tudor style, consistent setbacks, rear-of-lot garages, and mature shade trees provide a coherent design aesthetic that gives the University District its distinctive visual identity. Interior features include intricate plasterwork, leaded or stained glass windows, oak paneled libraries, hand-pegged hardwood floors, one or more fireplaces, Pewabic Pottery tile, and crystal chandeliers.
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The house had various times that it stood vacant. The house was completely vacant for much of the 1950s and experienced a great deal of vandalism. It was at that time that the plasterwork was mutilated, many marble mantles were broken, and the stained glass destroyed, though it all had been partially documented by the Historic American Buildings Survey in 1934. During these various periods of vacancy the local population began to tell stories of the house being haunted and one of these stories was later recorded by Kathryn Tucker Windham in a short story entitled "The Faithful Vigil at Carlisle Hall," which she printed in her first book of ghost stories, 13 Alabama Ghosts and Jeffrey.
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It is contended that the dado decoration (possibly replacing a timber dado moulding similar to that at the Montreal Theatre, Tumut), the second Art Deco motif (used as a centre- piece backing plate for lamps on the false splayed walls), the vine-leaf elements and the rough plasterwork above the dado moulding, and as backing for the vine-leaf elements, were all added around 1935. The less-rough plaster below the dado moulding is similar to that at the Tumut theatre, the material above is quite different. Judging by its covering some of the edge of the egg- and-dart cornice moulding it would appear to have been added after that moulding had been affixed (i.e. in 1929).
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Above the main canopy over the entrance was an illuminated sign above which the name of the cinema was displayed in neon. The auditorium's decorative scheme was quite simple and consisted mainly of ornamental plasterwork decorated in green, gold and pink. There was a large cove-lit dome in the ceiling and seating was provided for 1,850 people. The cinema was also equipped with a stage, which was only occasionally used, and a cafe that was located over the entrance foyer in operation until the 1950s.Jones, David & Whelan, Kevin, The ABC Turnpike Lane, ABC Cinemas, 1985, The Ritz was an immediate success and quickly became established as one of north London's most popular cinemas.
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Between 1883 and 1885, a series of earth tremors were felt across Tasmania and Victoria which were attributed to the eruption of Krakatoa. One such tremor recorded on 14 July 1884 caused extensive damage in Launceston affecting mostly chimneys and plasterwork of various buildings around the city. This tremor skewed and shifted a number of the masonry pinnacles surrounding the roof of the church, one so much so that it was cast to the ground with considerable force as to indent 6 inches into the dirt, missing a group of children waiting to go into the Sunday School. A few decades later a similar event occurred on 30 December 1929 with another tremor toppling one of the spires from the church.
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There is a spacious courtyard behind with four ranges of almshouses arranged facing onto a large courtyard, with a passageway through from the street and another at the rear, leading to allotments.Nikolaus Pevsner, The Buildings of England: North Devon, Penguin Books (1952) pg 48 The chapel has a fine interior with a three-light east window and a shallow-coved plaster ceiling with the remains of 17th-century decorated plasterwork with a vine motif and a central pendant for a chandelier. The fittings include 17th-century bookrests and benches with some 19th-century panelling and a 19th-century lectern. The boardroom at the opposite side of the building has a 19th-century panelled dado with fitted drawers and an altered fireplace.
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The repoussé copper frieze depicting the Battle of Lepanto. In 1899, the next owner, Sir John Nutting, improved the house greatly spending thousands of pounds. The facade of the house was faced with Portland Stone to harmonise the 18th and 19th century parts of the house. He also remodelled the interior with Italian Carrara marble and decorative plasterwork. A repoussé copper frieze depicting ships and galleons made around 1900 by James Smithies of Manchester, was added to the dining room. In 1903 Sir John Nutting was given the title of the Nutting Baronetcy of St. Helens. He later died in 1918 and the house was auctioned off. In 1925 the Christian Brothers bought the house and used it as their headquarters.
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External insecticide application may, in fact, do more harm than good by killing the natural enemies of the beetle. One way of dealing with the problem may be with the use of ultra-violet "insectocutors", to attract and kill the adults that emerge from the wood in the spring. If there is concern about the strength of structural timbers, a structural surveyor can drill core samples to determine the condition of the wood. Modern techniques of ultrasound examination now allow the extent and localisation of an attack within timbers to be determined with great accuracy, and, for historic properties where damage to ornate plasterwork must be avoided, can be followed by micro-drilling and highly- targeted injection of insecticide via hypodermic needle.
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Alan Brooks: Gloucestershire 1: The Cotswolds (1999) , pg 472, . This was a massive castellated Tudor Gothic House with a lofty octagonal tower at the S E. Then in 1859, John Naylor, brother of Richard Naylor, who was also a banker and Montgomeryshire landowner requested Colling to re-build Garthmyl Hall, Berriew for his brother-in-law Major- General William George Gold.Haslam R and Scourfield R, "Powys:Buildings of Wales", 2nd edition, Yale University Press Colling was given a free hand by the wealthy John Naylor when building Garthmyl Hall, as seen by the use of lavish gilding and plasterwork for ceiling decoration, and for the ornamental stonework on the exterior. This was an opportunity for him to put into practice some of the designs illustrated in his books.
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However, a house on the eastern side of the street is used in the final scene where the group leave Tony's wedding celebration and walk into the darkness. The Futurist, Lime Street, Liverpool The Futurist was the location which inspired the film's (arguably) most artistic sequence in which the two sisters, Eileen and Maisie, attend a screening of Love is a Many Splendored Thing whilst unknown to them, their brother and Maisie's husband, George, have a serious accident. The Futurist was Liverpool's first purpose-built and longest-surviving cinema, opening in 1912. It was an ornate city centre cinema with a tiled Edwardian facade and 1,029 seats in the stalls and circle auditorium - the latter richly decorated with plasterwork in the French Renaissance style.
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The bombs missed the centre of the museum, leaving the fragile ceilings of the Central and North Halls undamaged. In 2017 a blue whale skeleton was suspended from the ceiling of the recently renamed Hintze Hall, replacing the "Dippy" Diplodocus cast which had stood there for many years. Since the 1975 restoration the ceiling once more began to deteriorate, individual sections of plaster becoming unkeyed (detached from their underlying laths), paintwork peeling from some panels, and the delicate plasterwork cracking. The ends of the Central Hall suffered the worst deterioration, with some cracks above the landing and the northern end of the hall becoming large enough to be visible to the naked eye, while the gilding in the North Hall became gradually tarnished.
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The Courtyard (1822) engraving Despite its name it was intended for merchants of all types, and a number directly involved in the Guinea and West Indian slave trade used it for business transactions. Inside the Corn Exchange the plasterwork in the main hall represents the four corners of the world, including Africa and America, the latter wearing a headdress of tobacco leaves. On the outside of the building are carvings of African, American, Asian and European figures and animals, again symbols of Bristol's foreign trade including the Bristol slave trade.E. M. Carus-Wilson, 'The overseas trade of Bristol' in E. Power & M.M. Postan, Studies in English Trade in the Fifteenth Century (London, 1933) During the mid- to late 1960s the Exchange was a popular concert venue.
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Like William Morris, Philip Webb and Norman Shaw, Sedding had been a pupil of George Edmund Street. Jewson describes, in his autobiographical reminiscences, By Chance I did Rove (1951), how, having finished his apprenticeship in 1907, he set out with a donkey and trap on a sketching tour in the Cotswolds, ‘a part of the country little known at that time’. He had no idea that he would stay there for the rest of his life. Ibberson had recommended him to visit the workshops of Ernest Gimson, who soon took him on as an ‘improver’, or unpaid assistant and put him to work at making sketches from life and studying the crafts of modelled plasterwork, woodcarving and design for metalwork.
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In the case of Alfonso IV these became permanent, a unique event in the history of European funerary art. The rich plasterwork and paintings depict an impressive series of monarchs, empresses, kings and queens, saints and holy men, bishops and popes linked to the House of Este. The most important artists at court were commissioned, including Olivier Dauphin, Sigismondo Caula, Francesco Stringa, Lattanzio Maschio and Giovanni Lazzoni. Reopened to the public in 2018 after the 2012 earthquake, the church houses numerous masterpieces including the 16th-century terracotta Lamentation by Antonio Begarelli and a fragment of a 14h-century fresco of a Madonna and Child attributed to Tomaso da Modena.. The rather simple brick facade does not reflect the elaborately decorated interior.
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It was from Castle Toward that the second son of Alexander Struthers Finlay – Alexander Kirkman Finlay – emigrated to the then colony of Victoria, Australia, and subsequently married the daughter of the then Governor of New South Wales, Hercules Robinson, 1st Baron Rosmead. The wedding of Nora Robinson and Alexander Kirkman Finlay at St James' Church, Sydney, in 1878 attracted enormous attention in the colony and was extensively reported in the press. Later owned and extended by Major Andrew Coats, of the Coats family of Paisley, Italian plasterwork was installed in the public rooms in 1920. The entire building was restored and enlarged over the course of the 1920s by the architect Francis William Deas, who also laid out most of the current landscaping.
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The tower has two-light Y-traced bell-openings supported by circular mullions, well preserved shafting on the interior windows with capitals, both carved and plain, and also a number of small exterior head-stops. It contains a ring of eight bells, comprising six bells cast by Henry Bagley II of Chacombe in 1702, with the heaviest bell (tenor) weighing and two lighter bells cast by the Whitechapel Bell Foundry in 1995. The two east windows, glazed with coloured panes, are believed to be Georgian in origin, being referred to as 'recent' additions in documents dating from 1849. The nave roof has a ceiling, the painted imitation-plasterwork in the covings being of interest, believed to be 18th century work.
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He had changed his name from Hamilton to Baillie as a mark of respect. The mansion house is possibly the only remaining complete building designed by Robert Adam, as most of his other works were additions to existing buildings. The Adelphi Building, in London, was a speculative neoclassical terraced housing development by the Adam brothers but is now largely demolished, leaving Mellerstain House as an important record of Robert Adam's work. The interior is a masterpiece of delicate and colourful plasterwork, comprising a small sitting room (originally a breakfast room), a beautiful library (a double cube design), a music room (originally the dining room), the main drawing room, with original silk brocade wall coverings, a small drawing room (originally a bed chamber) and a small library (originally two dressing rooms).
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The attractions of Epsom Spa to the west prompted the first settlements other than isolated farmhouses on this part of the widest section of the North Downs stretching from Banstead village to Walton-on-the- Hill to the south. Tadworth Court on the south of the site is a listed building for architecture in the highest category as a country house of circa 1700, with "rustic quoins, stone dressings (renderings)..steep (and richly decorated) pediment....high panelling and rococo plasterwork...Boxed room with early C10 panelling,". Nikolaus Pevsner described it as a ’splendid house’ and ’one of the most elegant in the whole country’. He was amazed that such a house so close to London was virtually unknown -- no pictures of the house are known before the 20th century.
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Station annex The station received a two and a half storey entrance building at its opening, built in the style of the other Palatine stations that were built in the 1860s and 1870s, inspired and equipped accordingly with external plasterwork. In accordance with the importance of the station it has a relatively large gable facing the tracks and the street and corresponded as far as possible the station buildings of Altenglan and Kusel, which were also built at the time of the construction of the line. It has two and a half floors that were originally equipped with rooms for staff accommodation and administrative offices. Directly next to it there was a two-storey goods shed, which was created with the slope of the roof facing the track.
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The Mostyns offered the house for sale in 1870, as part of a package of land including Bodysgallen Hall, but there were no offers. By the 1880s, the Royal Cambrian Academy of Art became concerned about the condition of Plas Mawr, and in 1887 Lord Mostyn agreed to lease the building to the Academy for use as their headquarters. The architects Arthur and Herbert Baker were commissioned to survey the building, conduct repairs and remove some of the post-17th century alterations, and J. R. Furness then carried out conservation work on much of the plasterwork. The Victoria Gallery was built onto the north-west side of the house to hold artistic exhibitions, and a weather vane was added to the top of the building to celebrate Queen Victoria's Diamond Jubilee.
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In addition to applying a rich scheme of architectural decoration, Chambers enhanced the exterior of Somerset House with a multiplicity of sculptures and other visual embellishments. Designs were produced by Giovanni Cipriani and the sculptors included Joseph Wilton, Agostino Carlini, John Bacon, Joseph Nollekens, John Cheere and Giuseppe Ceracchi. Bacon oversaw production of the bronze group of statues (consisting of Neptune and George III) in the main courtyard, facing the main entrance from the Strand. Inside, most of the offices were plain and business-like, but in the North Wing the formal rooms and public spaces of the learned societies were enriched with painted ceilings (by Cipriani, Benjamin West, Angelica Kauffman, J. F. Rigaud, Charles Catton and Joshua Reynolds), ornamental plasterwork (by Thomas Collins and Thomas Clerk) and casts of classical sculptures.
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Many homesteads were rebuilt or greatly altered and extended at this time, with many notable examples in the new Arts & Crafts style. Purchas' design for Coragulac near Colac in 1897 involved a large addition to the earlier formal bluestone house, in matching bluestone, but as a picturesque compositions including a semi-circular bay with conical roof. The interiors included extensive use of plasterwork in the new Art Nouveau style, and a large timber fireplace with carved dragons on the corners, as seen at Tay Greggan. Coragulac was for the Robertson family, and this was followed by the work for which Purchas is best known, the extensive alterations to Purrumbete, with its multiple gables and lofty great hall, compete with minstrel's gallery with an elaborate Art Nouveau carved screen and integral artworks.
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Former access to this low basement or storage room appears to have been gained through an opening at the far south-western corner of the room via a flight of stone steps also exposed during excavations. Dateable material recovered from the apparent deep demolition deposit from this room included three clay pipe tobacco bowls, each dateable to between 1660–1680, several large fragments of 17th-century decorative plasterwork and an almost completely intact tall necked octagonal green glass wine bottle dated to between 1660–1700. The results from the excavation work in this room along with further investigation and recording of the standing fabric have shown that the cobbled floor exposed in this room is almost certainly Tudor in date. How early in the Tudor period this is however, is still speculative.
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Also of note is the boudoir (6); this small room conceived a sitting room for the ladies of the house retains much of its original plasterwork and decoration in the style of Soane. Later additions include the marble fireplace, and mirrored alcoves and pilasters to the corners, creating an elongated hexagonal shape also in the style of Soane. Other rooms are now much altered, the dining room (8) was created from the former library in the 1860s, while the music room’s once ornate and painted papier mache ceiling is now lost due to the building deprivations following World War II. At the time, the National Trust, permitted to carry out only limited work, prioritised the creation of staff flats on the upper floor, over the conservation of the house.Meller, p17.
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The White Hart in Llangybi was first built in the early 16th century and was to become the property of Henry VIII as part of Jane Seymour's wedding dowry, while a century later Oliver Cromwell is reputed to have used it as his headquarters in Monmouthshire during the English Civil War. The interior still retains no fewer than 11 fireplaces from the 17th century, a wealth of exposed beams, original Tudor period plasterwork and even a priest hole. For years, students of English literature were mystified by a couple of lines in the poem 'Usk' written by T.S. Eliot. In 2003, The Guardian reported that T. S. Eliot made cryptic reference to this pub in his poem "Usk", referring not to an animal but to The White Hart Village Inn.
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The house was purchased in 1934 by the Natchez Garden Club and restored, since it was in a dilapidated condition. Architect Richard Koch worked to restore the house, rebuilding collapsing masonry, repairing carpentry and plasterwork, and restoring wood trim, among other things. At the time of the restoration, the house was believed to be a former tavern owned by Patrick Connelly, but later research by the Natchez Garden club revealed that the tavern was actually located one block southeast of the house on Ellicott's Hill.Descendants of George Killian (1740-1830) Alterations to the house are primarily associated with the 1930s restoration and include the redesign of the gallery staircase and the removal of the extension of the masonry basement wall that enclosed the northern end of the lower gallery to partially shelter the gallery staircase.
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The use of gault brick helps it relate to the older buildings in the conservation area, even though its age, size and style do not conform to the typical pattern of the area: houses of up to four storeys with decorative exterior features, sash windows and large chimneys, mostly built in the 1870s and 1880s. The south and north elevations are curved outwards, and above the entrance on the north side is a "curious Art Nouveau-style plaster decoration" featuring stylised fleurs-de- lys, sunbursts and crowns. Further decorative plasterwork in the form of Tudor roses is visible on the east wall, which overlooks Hove Lawns. These expanses of grass, separated by paths leading from Kingsway to the beach, run westwards from the old boundary with Brighton as far as Courtenay Gate.
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The house consists of nine rooms and two halls on the ground floor, and eight rooms and three halls on the first floor.Figures 6 and 7 The internal spaces are mostly intact however there has been substantial alteration to certain rooms, such as the kitchens and bathrooms that do not have any original fittings or fixtures except window and some door joinery. Intact features in the house include: door and window joinery; ceiling roses and cornice plasterwork; timber stair to first floor; niches in sitting room and family room walls; and most of the chimney pieces, grates, chimney breasts and tiled hearths.Urbis (1), 2008, 5-7 There are seven chimneys: three on the eastern facade, two on the western facade, one in the single storey kitchen on the western facade, and one in the master bedroom visible from the northern facade.
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Following a serious fire on 6 March 1878, it was completely rebuilt in a very similar style but with a taller spire. The design involved an asymmetrical frontage with four bays facing Hairst Street; the left hand section of three bays featured a pair of gothic doors flanked by pairs of gothic widows on either side; there was a balcony and row of gothic windows on the first floor; the right hand bay featured a doorway with the burgh coat of arms in the gable head and a prominent high clock tower with bartizans. Internally, the principal rooms were the council chambers and the town clerk's office on the ground floor and the public hall on the first floor. Plasterwork bosses bearing the coats of arms of the burgh, the Bruce family and the Stewart family were installed in the public hall.
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Norman Wilkinson At the time of their introduction onto the North Atlantic, both Lusitania and Mauretania possessed among the most luxurious, spacious and comfortable interiors afloat. The Scottish architect James Miller was chosen to design Lusitanias interiors, while Harold Peto was chosen to design Mauretania. Miller chose to use plasterwork to create interiors whereas Peto made extensive use of wooden panelling, with the result that the overall impression given by Lusitania was brighter than Mauretania. The ship's passenger accommodation was spread across six decks; from the top deck down to the waterline they were Boat Deck (A Deck), the Promenade Deck (B Deck), the Shelter Deck (C Deck), the Upper Deck (D Deck), the Main Deck (E Deck) and the Lower Deck (F Deck), with each of the three passenger classes being allotted their own space on the ship.
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In spite of some splendid effects achieved by plasterwork and joinery, Colvin noted that "the spatial effects are simple and unenterprising". Four exceptional houses did not conform to these conventions. They were Kedleston (demolished and replaced by the celebrated Robert Adam house; Chicheley Hall with William Kent, doubtless in part the design of its owner Sir John Chester, and his virtuosi friends;Colvin 1995. Stoneleigh Abbey, "a somewhat inept attempt to use a giant order in the grand baroque manner" (Colvin) and Sutton Scarsdale (stripped of its interiors in the 1920s), where Colvin, comparing its assurance with Stoneleigh's "gauche" crowded windows and "leggy pilasters", suspected some intervention by James Gibbs. Andor Gomme has identified several churches which had Francis Smith’s architectural input, of which four survive in use with Smith’s contribution reasonably intact; namely All Saints Gainsborough, Lincs.
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The family first moved into the house in 1692, and apart from in both World War 1 and World War 2 when the house was used as an auxiliary hospital, the family have lived in the main house and it has been the seat of the Holbech family. William Holbech bought the estate in 1684 and built the house but the major changes to the property occurred between 1745 and 1750 when the entrance front was remodelled and the rococo plasterwork was added to the interior. This work was carried out by William Holbech junior who wanted a suitable setting for the sculpture and art he had brought back from his Grand Tour. His close friend was the painter Canaletto who was commissioned to produce four artworks (albeit in two orders) to hang in the main Dining room.
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The post-war period has seen a substantial increase in the number of students at Trinity, though as of 2013 it remains one of the smallest in Oxford. New accommodation in the form of the Cumberbatch buildings (the modern staircases 3 and 4) were opened in 1966 and the college also benefited greatly from the university-wide effort to re-face the many stone buildings around Oxford that had blackened over the centuries. The replacement of the plasterwork in the hall was completed just in time for Trinity to host the Queen, her husband Prince Philip, and the Prime Minister Harold Macmillan in 1960 upon the laying of the foundation stone of St Catherine's College by the Queen. The increase in the number of graduate students prompted the creation of a dedicated Middle Common Room in 1964.
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The hotel's taxi stand on the Park Avenue Viaduct The Trump Organization rebuilt the hotel at a cost of $100 million USD, gutting the first few floors of the interior down to their steel frame (although the same basic layout of public rooms was retained) and placing a new reflective glass facade on top of the existing masonry exterior. The work was done by the firm of Gruzen Samton, with architect Der Scutt, who would later design Trump Tower, serving as design consultant. The only portion of the hotel's decor left untouched was the foyer to the grand ballroom, with its neoclassical columns and plasterwork. The hotel re-opened on September 25, 1980, as the Grand Hyatt New York, with Governor of New York Hugh Carey and Mayor of New York City Ed Koch in attendance.
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Detail from 17th- century plasterwork overmantel in hall of Hudscott House, showing the arms of Lovering of Hudscott (Argent, on a fesse wavy azure a lion passant Or) impaling Dodderidge (Argent, two pales wavy azure between nine cross croslets gulesAs shown on the monument in the Lady Chapel of Exeter Cathedral to the judge Sir John Doddridge (1555–1628)) here shown apparently with tinctures transposed. They represent the marriage of John I Lovering (died 1675) to Dorcas Doddridge, sister and co-heiress of John Doddridge (1610–1659). As his only son predeceased him, his heirs were his two sisters, one of whom was Dorcas Doddridge, the wife of John Lovering (died 1675) "The Elder", of Weare Giffard, a merchant based at BarnstapleWill of John Lovering "The Elder" proved 1675. who served as one of his executors.
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120: "the town-house of the Earls of Carlisle, built in the time of James II." It was a three-storey house of brown brick with stone band-courses separating the storeys and a triangular pediment ornamented with egg-and-dart moulding below and leaf moulding above. The railings in front were probably a later addition, and fine plasterwork had been added in about 1740 to the staircase and one of the rooms on the first floor. The house's association with the Carlisles did not begin until 1717 or 1718, when the estranged wife of the third earl inherited it from her mother, the dowager Countess of Essex. Lady Carlisle rented it out from 1718 to 1724 to a James Vernon, possibly either the MP or his son, also an MP, and lived there herself from 1725 until she died in 1752.
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In 1559 William had a new floor inserted at gallery level in the Great Hall, and added the two large bay windows looking onto the courtyard, built so close to each other that their roofs abut one another. The south wing was added in about 1560–62 by William Moreton II's son John (1541–98). It includes the Gatehouse and a third storey containing a Long Gallery, which appears to have been an afterthought added on after construction work had begun. A small kitchen and Brew-house block was added to the south wing in about 1610, the last major extension to the house. Fireplace in the Parlour with plasterwork overmantel displaying the royal arms of Queen Elizabeth I, circa 1559 with Caryatids on either side The fortunes of the Moreton family declined during the English Civil War.
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When the architect MH Baillie Scott built a holiday home overlooking Windermere for his client Sir Edward Holt he created Blackwell, a masterpiece of twentieth-century design; a perfect example of the Arts & Crafts Movement. Blackwell retains many of its original decorative features, including a rare hessian wall-hanging in the Dining Room, leaf-shaped door handles, curious window catches, spectacular plasterwork, stained glass and carved wooden panelling by Simpsons of Kendal. The rooms contain furniture and objects by many of the leading Arts & Crafts designers and studios - metalwork by WAS Benson, ceramics by Pilkingtons and Ruskin Pottery and furniture by Morris & Co., Stanley Webb Davies, Ernest Gimson and Baillie Scott himself. Acquisitions of furniture by Baillie Scott are on display, including an oak and ebony inlaid barrel chair with slatted sides, sideboard and a set of dining chairs.
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As at 1 December 2008 the internal spaces were reported to be mostly intact however there had been substantial alteration to certain rooms, such as the kitchens and bathrooms that do not have any original fittings or fixtures except window and some door joinery. Intact features in the house include: door and window joinery; ceiling roses and cornice plasterwork; timber stair to first floor; niches in sitting room and family room walls; and most of the chimney pieces, grates, chimney breasts and tiled hearths.Urbis JHD (1), 2008, 5-6 It has archaeological potential to reveal further information about the layout of the garden, internal courtyard and other buildings on the site.Revised statement of significance, in Urbis (2), 2008 There were several small buildings adjacent to Llanrth in the 1870s but the one most prominent was a cottage in front at the entrance gates, known as 'coachman's cottage'.
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Traditional lime based mortar/plaster often incorporates horsehair which reinforces the plasterwork, thereby helping to prevent the keys from breaking away. Eventually the wood laths became less common, and were replaced with rock lath (also known as "button board"), which is a type of gypsum wall board with holes spaced regularly across it, usually in sheets sized by (60 cm by 120 cm). The purpose of the four-foot length is so that the sheet of lath exactly spans three interstud voids (overlapping half a stud at each end of a four-stud sequence in standard construction), the studs themselves being spaced apart on center (United States building code standard measurements). The holes serve the same purpose as the spaces between the wood lath strips, allowing plaster to ooze through the board when the plaster is applied, making the keys to hold the plaster to the wall board.
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Brown was determined to use Sheffield craftsmen during the work on the hall and in addition to the architects Flockton & Abbot he employed local firms such as John Jebson Smith (staircases), Longden & Co. (kitchen stoves), Messrs Craven (ornamental plasterwork), William Gibson (carpentry), Mr Pitt (plumbing and glazing) and John and Joseph Rogers (decorating)."A Popular History Of Sheffield", J. Edward Vickers, , Pages 90-91 Gives historical details. Such was the rarity of such a fine building being erected in Sheffield at that time, that when the hall was finished it was opened to the public for three days attracting huge crowds and much praise with the Sheffield Telegraph calling it, “the public advantage of personal munificence” in its edition of 24 May 1865. After the death of his wife in 1881, Brown gradually withdrew from public life, his health deteriorated and he spent increasing amounts of time in southern England.
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By the early 1980s, the hall was in a parlous state of decay, with few repairs for many years, water ingress, and a serious threat of subsidence having been undermined by coal workings. Floorboards had been removed, most of the staircase had collapsed, and ceilings and plasterwork had fallen through to the basement. Wedgwood made two applications to have the Grade 1 listed building demolished, and a public inquiry was convened. Save Britain's Heritage, with Kit Martin, architect Bob Weighton and engineering firm Peter Dann & Partners, formulated a plan to restore and protect the house. The National Coal Board said that it would pay for the subsidence damage and preventative works to construct a raft under the building, so, early on 29 September 1981, Wedgwood offered to sell Barlaston Hall to Save Britain's Heritage for £1, on condition that the restoration was completed within five years, in default of which Wedgwood retained an option to repurchase the hall for £1.
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The form is itself ornamental, and further decorated in painted plasterwork The amazing Rococo interior of the Wilhering Abbey (Wilhering, Austria). This interior has a trompe-l'œil on its ceiling, surrounded of highly decorated stuccos Arabesque in a boudoir taken from the Hôtel de Crillon, in the Metropolitan Museum of Art (New York City) Renaissance ornaments above a door in the D.A. Sturdza House, each door having the same thing above them, in Bucharest (Romania) The relief of Diana at the Amalienburg, in Munich (Germany) A wide variety of decorative styles and motifs have been developed for architecture and the applied arts, including pottery, furniture, metalwork. In textiles, wallpaper and other objects where the decoration may be the main justification for its existence, the terms pattern or design are more likely to be used. The vast range of motifs used in ornament draw from geometrical shapes and patterns, plants, and human and animal figures.
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It contains a rare example in Sydney of an intact mid nineteenth century first floor drawing room with its moulded plasterwork, chimney piece and grate, joinery, and cantilevered balcony. The Merchant's House contains original elements of high quality including a geometric staircase, cast-iron cantilevered balcony, stonework, surface finishes, door cases, windows, French doors, dormer windows and servant bell system. The house was designed to complement the adjoining warehouse built four years earlier. Within the present streetscape of George Street North, the buildings contribute to a fine ensemble of buildings from the early Victorian to Edwardian period. Including a range of residential terraces from the early 1840s (85-77 George Street), to the 1860s (32-29 George Street), and the 1880s (41-33 George Street). The building complex reflects the wealth and status of the small business and merchant class of 19th century Sydney and provides evidence of the once dominant mercantile nature of The Rocks.
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Elliptical spiral staircase, which ascends three floors The interior of the Nathaniel Russell house is greatly influenced by the Adam style, popular at the first of the 19th-century, that introduced curved walls, elaborate plasterwork decorations and striking mixed color schemes. The house features three main rooms per floor each of different geometric designs: a front rectangular room, a center oval room, and a square room in the rear. The rectangular entrance hall with a black and white diamond patterned floorcloth edged with a leaf motif, and the adjacent office was where Russell would conduct business. Separating the public rooms at the front of the house from the more private rooms used by the family, wide faux-grained double doors with glazed rosette patterned insets and an elliptical fan shaped transom, gives access to the golden walled stair hall that showcases the most important architectural feature of the house, the cantilevered spiral staircase, that ascends to the third floor.
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Although there has been a great amount of historical research undertaken on Llanelly House over the years, comprehensive archaeological investigations did not begin until March 2011. These investigations have revealed that Llanelly House, rather than being exclusively the remains of a significantly well preserved Queen Anne and Georgian gentry house with a colourful history built in 1714, Llanelly House also has foundations and significant standing remains that date back to both the Elizabethan and Jacobean periods. The initial archaeological work in 2011, guided by the ongoing restoration programme, focused firstly on a program of standing building recording on the interior of the house following the removal of deteriorated plasterwork from a number of internal elevations. This first phase of on-site work managed to record a number of interesting features within the standing fabric of the exposed internal elevations, especially at ground floor level, including a number of blocked in, enlarged and reduced doorways, windows and fireplaces, that pre-dated the 18th-century house.
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The castle, with new harling, in 2010 Between November 2007 and 2009, the castle was closed for its exterior to be given a new harl, returning it to what is believed to be a close equivalent of the harling put in place during the refurbishment of 1820. It was reopened to the public in April 2010. One report provided these specifics about the work and the state of the castle as of 2010: > The tower was renovated and rehabbed ... featuring a traditional lime-based > alternative to concrete-based harling and returning the castle to what would > have been its original shade of pink. The castle interior boasts a Great > Hall that has the Stuart Arms over the fireplace; a musicians’ gallery; a > secret staircase connecting the high tower to the Great Hall; Queen's > Bedroom; servants' quarters and several splendid plasterwork ceilings. The > castle contains a collection of Forbes family portraits and furnishings > dating to the 17th and 18th centuries.
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The building is a rare example of a sandstone masonic temple in Queensland and demonstrates the principal characteristics of both a substantial masonic temple in Queensland and a late nineteenth century sandstone public building in Warwick. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The building is a rare example of a sandstone masonic temple in Queensland and demonstrates the principal characteristics of both a substantial masonic temple in Queensland and a late nineteenth century sandstone public building in Warwick. The place is important because of its aesthetic significance. The building exhibits aesthetic qualities valued by the community, in particular; it contributes to the streetscape as a prominent monumental building and contains well-crafted elements, notably the furniture in the ceremonial hall, the stairs, the window reveals and plasterwork. The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.
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He instructed in the restoration of a 17th-century building that today is the O Leão de Porches restaurant, designing the interior; he designed the Rouxinol restaurant in Monchique; the original building and entrance to the International School of the Algarve, which Swift was instrumental in founding; his house on the cliffs outside Carvoeiro; numerous buildings in Algarve display hand-crafted ornamental plasterwork by Swift, akin to pargeting or relief in cement, generally depicting birds, animals and foliage. He exhibited: drawings for Algarve: a portrait and a guide at the Diário de Notícias Gallery, Lisbon (1965); an exhibition of Porches Pottery at the Galeria Diário de Notícias, Lisbon (1970); an exhibition of his paintings at Galeria S Mamede, Lisbon (1974). He designed the sets for The Merry Wives of Windsor at the Portuguese National Theatre Company, Lisbon (1977). Swift lived and worked in the Algarve from 1962 until his premature death, from an inoperable brain tumour, in 1983.
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Today, a statue of Anne Hutchinson stands in front of the State House in Boston, Massachusetts. Interior of Canons Ashby House The interior of Canons Ashby House is noted for its Elizabethan wall paintings and its Jacobean plasterwork. It has remained essentially unchanged since 1710 and is presented as it was during the time of Sir Henry Edward Leigh Dryden (1818–1899), a Victorian antiquary with an interest in history. His daughter, the historian and photographer Alice Dryden (1866–1956) was born in the house and lived there for 33 years. She moved away after her father died, since a woman could not inherit the estate and it went to her uncle, Sir Alfred Erasmus Dryden (1821–1912).Brian Dix, ‘Dryden, Sir Henry Edward Leigh, fourth baronet and seventh baronet (1818–1899)’, Oxford Dictionary of National Biography, Oxford University Press, 2004 The house sits in the midst of a formal garden with colourful herbaceous borders, an orchard featuring varieties of fruit trees from the 16th century, terraces, walls and gate piers from 1710.
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Inglewood (1892), Ratcliffe Road, Leicester The White House (1898), North Avenue, Leicester His architectural commissions include ;Inglewood and The White House: (1892 & 1898) in the prosperous Leicester suburb of Stoneygate; ;Lea, Stoneywell and Rockyfield Cottages: in Ulverscroft, Charnwood Forest, Leicestershire (with Detmar Blow in 1897/9; Rockyfield 1909), all as summer retreats for his siblings. In February 2013 the National Trust bought Stoneywell; it opened to the public in February 2015;, Stoneywell blog, 2013. ;The Leasowes: his own cottage, at Sapperton (1903, with a thatched roof, since burnt); ;alterations to Pinbury Park (with plasterwork) and Waterlane House: (1908), both in Gloucestershire; ;Kelmscott: cottages and the village hall (completed under Norman Jewson in 1933), Oxfordshire; ;Coxen: at Budleigh Salterton, Devon, constructed in cob; the work was done a year or two before the war; this is Mr. Gimson’s own description of the manner of its building: “The cob was made of the stiff sand found on the site; this was mixed with water and a great quantity of long wheat straw trodden into it. The walls were built 3 ft.
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In the early 17th century however, it is very likely that this basement area would have been absent, but the floor space itself would have acted as a thoroughfare, allowing access to the main house via small flights of wooden stairs. Further building work in this room has revealed evidence to corroborate the idea that Llanelly House was once linked to the building to the east of the main house, which is occupied by the West Credit Union. Evidence for this emerged following the removal of a stone built block-in wall from the far northeast end of this room, which exposed a skewed cross passage leading to the building next door, remnants of 17th-century plasterwork, including the remains of a section of cornice and the outline for the position of a former wooden staircase that linked the two buildings floor levels. From the removal of this blocking in, a large fragment of decorative Elizabethan architectural stone fabric was recovered, decorated by a ‘daisy wheel’ motif interspersed with poppy heads.
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The builders were J. & J. Foster; ceramic tiles were provided by W. Godwin; the stained glass was made by Heaton Butler & Bayne; the panelling in the drawing room was executed by Howard & Son; chimneypieces in the hall were by Benham & Co., in the staircase hall by W.H. Burke & Co. and the oak chimneypieces used in other rooms were by W. Farmer; decoration was by J. Hankins; decorative iron work was by Hart Son Peard & Co. and F.A. Skidmore & Co.; the decorative plasterwork was executed by J.W. Hindshaw. The clerk of works was Alexander Gray.Cunningham & Waterhouse, p. 224 Easneye Park, Stanstead Abbots, Hertfordshire (1866) Tudor, with bright red brick with dark brick diaper patterns, note the brick chimneys, based on those at Hampton Court Palace Easneye Park (1866) near Stanstead Abbotts, Hertfordshire, was a country house built for Thomas Fowell Buxton, a large red brick in early Tudor style, with typical diaper work and terracotta decoration with crow-stepped gable and tiled roof the chimneys are base on those at Hampton Court Palace.
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Example of a stenciled plaster design Many of the greatest mural paintings in Europe, like Michelangelo's Sistine Chapel ceiling, are executed in fresco, meaning they are painted on a thin layer of wet plaster, called intonaco; the pigments sink into this layer so that the plaster itself becomes the medium holding them, which accounts for the excellent durability of fresco. Additional work may be added a secco on top of the dry plaster, though this is generally less durable. Plaster (often called stucco in this context) is a far easier material for making reliefs than stone or wood, and was widely used for large interior wall-reliefs in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius.
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Embellishment of the buildings continued after their opening; the building was closed for three months in 1897 to enable plasterwork to be painted and gilded, and before that in 1894 full-sized plaster maquettes of three of William Calder Marshall's sculptures were installed: Dancing Girl Reposing, Zephyr and Aurora, and Eurydice - the last since lost (by Wandsworth council, upon its transfer to their town hall). In 1895 a glass and iron porch was built to provide shelter outside the Grand Hall entrance. Perhaps the single feature neglected by the vestry during the original construction was the installation of an electric lighting system; in 1896-7 a 100 V system was retrofitted, served by a dedicated generator, and in 1901-2 a higher voltage system served by the borough's Lombard Road power station was introduced. Additions were made at the time of incorporation of Battersea as one of London's metropolitan boroughs in 1900, in the form of an additional refreshment room catering for up to 400 people, as well as additional office space; provision for these had been made in the original plans, although practical difficulties necessitated compromises in providing adequate access to the new rooms.
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Following this initial building inspection and survey work, ground work began in April 2011, with the lifting of existing floorboards for the insertion of new floor supports and services, from four of the ground floor rooms, the former Sir Thomas Stepney's Study, the Great Hall and the two rooms that occupy the south-western range of the house. The re-opening and re- investigation of a series of trial pits dug by engineers in the late 20th century, in two of these rooms had already revealed that below the present floor surface was a series of three earlier occupation layers, defined by layers of alternating demolition and construction deposits, with natural clay not being reached until approximately below the present floor level. Finds recovered from the upper most occupation layer of one of these trial pits (The Great Hall) included several large fragments of 17th-century decorative plasterwork, suggesting that parts of the 17th-century house had been demolished and the floor level raised to the present height. The trial pit in Sir Thomas Stepney's Study however told a very different story from the re- opened trial pits in the former Great Hall and the south-western range.
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It was described in the 1960s by the leading architect and academic Robin Boyd as "the best cinema that was ever built or is ever likely to be built".Robin Boyd, The Australian, 24 December 1965 Ceiling detail Original curtain and stage area decoration The building is noted in the Victoria context for its unusual mixed uses, and for the structural design that allowed them to co-exist, as well as for the daring cantilever of the concrete street verandah, but it is the geometric plaster ceiling of the theatre auditorium that is the most outstanding feature. Composed of angular crystalline forms in molded plaster, it was based on organic design principles from 'the natural world' and are composed in a way which is both evocative of a glittering cave, while it is also distinctly modern. The ceiling plasterwork incorporated hidden lighting of about 4000 coloured globes in red, yellow, blue and green, which could be controlled from a central point to produce different effects, used on their own and in conjunction with the original orchestral scores in the early silent film era to add drama for the spectator.
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Garth, Guilsfield Gnoll Castle, Glamorgan-Neale(1818) p5.280 Bodelwyddan Castle Central Gothic extension 1802-8 Plas Newydd Bodelwyddan Castle Gothic window alcove at Boddelwddan 1802-8 Plas Newydd ( Anglesey )-Plasterwork in Entrance Hall A surprisingly early example of Gothic Revival architecture in Wales is the south wing of Hensol Castle in Glamorgan. Hensol had three storied east and west wings added with tower-like semi-octagonal bays which were fenestrated with pointed gothic windows and surmounted by battlements.RCAHMW, (1981), Glamorgan: The Greater Houses, HMSO pg.339–340. It has been suggested that this very early Gothic architecture was the work of Richard MorrisCADW, Listed Buildings Schedule, ref. 72/D/7(2) who also designed Clearwell CastleRowan A (1970) Clearwell Castle, Gloucestershire, in Colvin H and Harris J, The Country Seat: Studies in the History of the British Country House, Allen Lane, London, pp. 145–149. in Gloucestershire about 1728. One of the towers at Hensol is dated 1735 and much of the evidence for this early phase at Hensol has been disguised by the later gothicisation of the building. Another example of the simple Gothic revival style was Gnoll near Neath. This was a remodelling, starting in 1776, of an existing house for Sir Herbert Mackworth, owner of a local copper works.
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