Rainwater-heads are in lead. On north and south walls of chancel there are four, three with embattled tops and painted decoration, curved junction with down-pipes, on one of which is a fleur-de-lis; one head on south side elaborately shaped, with enriched cornice and cresting, the date 1632, and strap-work ornament on the flanges, junction with down-pipe enriched with acanthus ornament, down-pipe with strap-work ornament and enriched straps with three crests. On the north wall of north transept two shaped heads with embattled tops, the two heads bearing together the date 1634. On north wall of nave, head with arabesque ornament and painted decoration; on south wall, with rounded and moulded head.
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The parapet has coping between the gables. The interior has important features. In the house now known as "The Abbey", the sumptuous barrel-vaulted, coved plaster ceiling on the first floor has five pendants and elaborate strap work. The central rose decoration radiates with pomegranates and fleur-de-lis decorations.
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Classically symmetrical in design, the building features a projecting temple- like portico or porch. It has a red tiled roof, a cut stone foundation, and concrete walls marked in a wave design meant to resemble stucco from a distance. Neoclassical elements include the pediment extending over the front (south) porch, which is supported by four doric columns with square shafts, capitals, and bases. A palladian window occupies the tympanum of the pedements, which also feature horizontal and vertical strap work.
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The reliefs were sculpted by Henry Emery, assisted by students at the nearby Cork School of Art. The tympanum over the door was designed by the sculptor Oliver Sheppard and is dominated by the figure of St. Finbarr, dressed in bishop's vestments. The timber doors hang on wrought-iron strap-work hinges designed by the architect William Scott in (according to the writer Paul Larmour) a "Celticized art nouveau" style. The sacristy is on the north side (left, looking towards the altar) under the bell tower.
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Capital on post of entry The decorations on the outside of the Urnes Stave Church, including wood carvings and sculpted decor, serve as visual evidence of the Viking culture’s transformation, assimilation, and adoption of Christianity. Strap-work panels were taken from the previous 11th century Urnes Church and then incorporated into the new structure, keeping elements of Viking tradition alive. The carved decoration of the North Portal, depicting interlaced animals, in this Urnes- style context is one of the last examples of Viking animal ornamentation. The interior of the Church is more richly decorated than the exterior.
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The dome is crowned by a bronze crescent, which, unlike other crescents in the sanctuary, faces east and west. It is the only significant dome of its kind that exists outside Cairo and also one of the finest examples of the Mamluks’ use of highly ornate stone-engraved calligraphy. On all four sides of the fountain are ornate inscriptions containing Qur'anic verses, details of the original Mamluk building and the 1883 renovation of the structure. Mamluk-era star-pattern strap work details the building interior, but the external lintels are from the Ottoman era of rule in Palestine.
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Also during this period, although not with Moss Empires, he completed the designs for the Tower Ballroom at Blackpool Tower, Grand Theatre, Blackpool and the Theatre Royal, Norwich all in 1894; and the County Arcade, Leeds, in 1900. The author Iain Mackintosh, writing for the Dictionary of National Biography in 1993, describes Matcham's theatre interiors to be superior when compared to the building's external designs. Matcham's use of cantilevers for the galleries allowed him to discontinue the use of columns, which would otherwise obstruct the audience's view of the stage. The auditorium decorations were often mixed with Tudor strap-work, Louis XIV detail, Anglo-Indian motifs, naval and military insignia, rococo panels, classical statuary, and baroque columns.
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950px Floor plan Ez-Zituna mosque followed the design and architecture of previous mosques, mainly the Mosque of Uqba, and was an inspiration for later mosques such as the Great Mosque of Cordoba. The courtyard is accessible via nine lateral doorways and forms a rectangle surrounded by galleries supported by columns made variously of marble, granite or porphyry and which were taken from ancient monuments (primarily from Carthage), as were those in the prayer hall. The square minaret rises from the northwest corner of the courtyard. Built in 1894, the minaret is high and imitates the decoration of the Almohad minaret of the Kasbah Mosque with its limestone strap-work on a background of ochre sandstone.
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Huguenot silver is noted for its fine workmanship and design elements including strap work, cut card work, and cast and applied ornaments and decoration with elaborate engraving. Archambo's work is described as French in influence and he is credited with helping to introduce the Rococo style into England (popular c. 1725 – c. 1765). After serving as apprentice for ten years to Jacob Margas he became a Freeman of the Butchers' Company on 7 December 1720 (rather than the Goldsmiths' Company, which was restricting entry to foreigners into their guild). He first registered his mark in London in 1721, his second mark in 1722 and his third mark in 1739 and is thought to have retired around 1750 and to have died c. 1759.
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Often the foliage contained a face (St Margaret's, Cley, Norfolk), or the poppyhead consisted of figures or birds only (Thurston, Suffolk) or a figure standing on a dragon (Great Brincton, Northampton); occasionally the traditional form was departed from and the finial carved like a lemon in outline (Bury St Edmuncis) or a diamond (Tirley, Glos.). In Denmark an ornament in the form of a large circle sometimes takes the place of the English poppy-head. In the Copenhagen Museum there is a set of bench ends of the 15th century with such a decoration carved with coats of arms, interlacing strap-work, etc. But the old 15th-century bench end did not depend entirely on the poppy-head for its embellishment.
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In 1731 he produced the very fine hot water kettle with a circular body with a finely engraved contemporary armorial crest now part of the interpretative collection at The Johnston Collection in East Melbourne (in Victoria). Shells and Neptune adorn this elegant item which would have been a key requisite for entertaining in style. Other of his works in well known collections include the magnificent wine urn chased with masks, shells and strap-work, and its companion, a wine cistern commissioned by George Booth, 2nd Earl of Warrington (1675–1758), which remain in the notable collection of silver at Dunham Massey Hall in Cheshire. The Gilbert Collection now at the Victoria and Albert Museum, London has a neo-classical hot-water urn and a set of three exquisite caddies with finely engraved decoration.
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