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43, King Street, Westminster, was built for Admiral Russell, 1st earl of Orford, in 1716-17, probably to designs by Thomas Archer. The house is of brick with stone dressings, the painted stucco being added at a later date. It has three storeys with an attic and basement. The facade has four giant Composite fluted pillasters on rusticated piers at ground-floor level. The entablature comes forward above capitals with dosserets. The attic storey has a cornice, and its central section was raised in the nineteenth century, probably in 1871, when two iron vases were placed at either end (the edge of one of these is visible here at the top). This replaced a parapet that was ramped up to a central window.
3, Amen Court, in the City of London, was designed by Edward Woodruffe in 1670 and built in 1671-73. It is one in a group of three houses constructed for the Canons Residentiary of St Paul's Cathedral. The house is of two storeys, five windows wide, with a half-basement and an attic with dormer windows. It is built of red brick with bands (as seen here) and a later parapet of yellow brick.
One of the sculptures on the outside of Il Salute in Venice.
The white stone edifice of Santa Maria della Salute – the Salute – was built in the 17th century by a Venetian government who prayed for an end to plague and had their prayers answered.
The Senate had decreed a church to honour the Virgin Mary would be built and they honoured their promise, commissioning Baldassare Longhena to construct the present building.
It took 50 years to erect and is a masterpiece of baroque architecture, owing much to Andrea Palladio. The octagonal structure, with a great dome rising from the base, contains several altars and works of art by painters such as Titian.
Every year on November 21 – the feast of the Presentation of the Virgin – the church is the home of great celebrations and prayers for health and wellness.
12,14, and 16, Rugby Street, Camden, are three in a terrace of four houses dating from around 1721. They are of brown brick with red brick dressings, and some evidence of tuck pointing, as well as later patching in multi-coloured stock brick at the upper storeys. All these houses are of four storeys with a basement and three windows wide. At No. 14 (at centre), the windows have gauged, segmental brick arches with recessed sashes. At Nos 12 (on the right) and 16 (at far left), the windows have gauged, flat brick arches with recessed sashes. The doorcase at No. 14 (at centre) has a hood carried on carved brackets, but has lost its wooden pilasters, architrave and soffitt, probably when the door was altered and a new overlight inserted, although there always appears to have been a difference of floor level between it and No. 12. The door at No. 14 has six fielded panels with a rectangular overlight above. The wooden doorcase at No. 12 (on the right) has fluted Doric pilasters, an architrave which is swept up at the centre, and a hood with enriched mouldings carried on carved brackets with a panelled soffitt. Its door has two flat panels and four fielded ones, with a radial fanlight above.
Palais Königsfeld ● Erzbischöfliches Palais
It was built from 1735 to 1737 by François de Cuvilliés on behalf of Elector Karl Albrecht for his bastard son Franz Ludwig Count of Holnstein. Other sources say that the building was built for the mother of the bastard Franz Ludwig, the mistress of the Elector, Maria Caroline Charlotte Sophie von Ingenheim.
Since 1818 the palace is state-owned; It has been the seat of the Archbishop of Munich and Freising since 1821 and is therefore also known as the Archbishop's Palace.
Munich ● München
April 2019
IMG_0758
Early eighteenth century. Built by Thomas Lucas between 1705 and 1717. Staircase with twist baluster.
Longitudinal corridor on the first floor - it leads to several rooms. Fouquet's apartment, courtyard side, and his wife's garden side, twelve meters thick, with an antechamber, a bedroom (main room of an apartment where the relatives have free access, it is the place of sociability where they sleep, receive guests, take meals and study.
Currently, Ms. Fouquet's room is divided into two rooms, a Louis XV cabinet and a Louis XV bedroom. The right part of the first floor is only briefly worked on.
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Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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About Pixels - #art #bust #roman - Château de Vaux-le-Vicomte (Est.1658)
em würzburg
en.wikipedia.org/wiki/W%c3%bcrzburger_Residenz
jardim meio feio por causa da época do ano, na wikipedia tem foto dele no verao...
melhor visualizado em "large"
post processing: photomerge, barrel distortion correction, vertical perspective distortion correction, curves, noise reduction, sky extraction, local cloning and patching, chromatic aberration correction, color replacing (woman's jacket, from red to brown)
People on a balcony at City Hall, Plaza Mayor, Salamanca, a city in western Spain, in the community of Castile and León
The Basilica of St. Michael the Archangel (placed under the invocation of St. Michael the Archangel ) is a church catholic located in the heart of the historical center of Menton . Since the road from the seafront , with majestic staircases allow to gradually reach the site where, on a spot in the stalls CALADE triumph whole perspective of the baroque architecture .
At the beginning of the xvii th century, desired by Prince Honoré II of Monaco , its construction was entrusted to the architect Lorenzo Lavagna. TheMay 27 1619The first stone was laid in the presence of the prince and lord Nicolà Spinola, bishop of Ventimiglia which depended Menton and Roquebrune while Monaco depended on the Bishop of Nice. Excavation works actually began in 1639 and the church was opened for worship in 1653 . Finally, theMay 8 1675The bishop of Ventimiglia Monsignor Mauro Promontorio dedicated the new church in the presence of Prince Louis I st . In 1701 , the architect Emmanuel Cantone erects a tower of fifty-three meters high, real watchtower overlooking the city. Its current facade was completed in 1819 in the spirit of the baroque of the xvii th century.
Inside, the vast nave with four bays form a large Latin cross . The choir , preceded by a triumphal arch is decorated with stucco marble with pilasters dishes. A painted wooden statue of 1820 representing Saint Michael slaying the dragon overcomes the altar in polychrome marble. The side chapels are decorated with altarpieces baroque. One is dedicated to Saint Devote . Some had been granted to wealthy families of Menton.
Beautiful organ in the choir (XVII c.) Unknown factor. It has been often attributed to Gio Oltrachino (Jean Utrect), organ builder native of this town, located in Genoa and which is known by many constructions organ archives in Liguria - only one still existing intact in Alassio - and Monaco: the parish church of Saint-Nicolas Monaco dated 1639 (current buffet that of St. Charles church restructured by architect Charles Lenormand and Merklin), that of the palatine chapel (1639) disappeared and another organo portatile the same time also disappeared. Gio Oltracchino died in Genoa in 1647 and the organ of Saint-Michel can not be attributed to him.
In 1999 , the Saint-Michel church is raised to the dignity of minor basilica by Pope John Paul II , and consecrated basilica in January 2000 . Since 1949 , each year in August, the square hosts the famous Festival of Classical Music . She is one of the most visited attractions in the Alpes-Maritimes.
The Basilica (and its square ; other items were enrolled at other dates) is the subject of a classification as historical monuments since 3 March 1947
Early eighteenth-century. For Joseph Allan, Master Shipwright of the Deptford Dockyard in 1705. Staircase of circa 1710. Three twisted balusters to each tread.
The Rotunda lounge or Grand Salon on the garden siede, a unique piece of architecture. The whole, formed by the vestibule and this large space, forms like a central span. This arrangement, also known as a "lantern", allows the visitor to have a view through the axis of the main courtyard-porch-vestibule-alley in perspective of the gardens located on the other side, around which revolve two parts autonomous each with a staircase..
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Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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About Pixels - #architecture #castle #monument #interior - #VLV #Maincy #FR
Dresdner Zwinger
Dresden, Germany - June 1, 2017
From Wikipedia:
"The Zwinger (German: Dresdner Zwinger) is a palace in the eastern German city of Dresden, built in Baroque style and designed by court architect Matthäus Daniel Pöppelmann. It served as the orangery, exhibition gallery and festival arena of the Dresden Court....
...Today, the Zwinger is a museum complex that contains the Gemäldegalerie Alte Meister (Old Masters Picture Gallery), the Dresden Porcelain Collection (Dresdener Porzellansammlung) and the Mathematisch-Physikalischer Salon (Royal Cabinet of Mathematical and Physical Instruments)."
Church of Santo Domingo de Guzman ♦ Iglesia de Santo Domingo de Guzmán
Oaxaca, Mexico
30 Jan. 2014
2014-Mexico 1870
7, Fournier Street, London, an early eighteenth-century house of around 1722, but refronted in the nineteenth century. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood and Simon Mitchell who leased out plots from 1718 onwards. No. 7 is built of yellow brick. It is two windows wide, and has three storeys with basement and attic. The 1973 listing document describes shop fronts at ground floor which have now gone so most of what is seen here is reconstruction.
The Matrons' College in The Close, Salisbury, was established by Seth Ward in 1682, perhaps to designs by Christopher Wren, or at least approved by him, since Wren was a friend of Ward's. The structure is of brick, two storeys high on a projecting plinth, and has a hipped roof with tiles. There is a string course at first floor level and a bracketed and moulded eaves cornice. It is thirteen bays wide with projecting wings that have stone quoins. Each of the two secondary doorcases to either side (one of which is seen here) has an architrave surround, a pulvinated frieze, a cornice and a pediment with a coat-of-arms in a cartouche. The doors have flat panels.
Tower added in 1730 to Nicholas Hawksmoor's St Alfrege of 1711-14 by John James. The church is built of Portland stone ashlar. One of the so-called Fifty New Churches built by the Commission active from 1711 to 1734. The masons were Edward Strong and Edward Tufnell. Hawksmoor planned a a tower with broad corner pilasters, a butressed octagonal lantern, much like St George-in-the East. Instead, the old tower was recased and a steeple added by James in 1730. It was rebuilt in 1813.
Würzburg Residenz: The vast complex on the eastern edge of the town was commissioned by two prince-bishops, the brothers Johann Philipp Franz and Friedrich Karl von Schönborn. Its construction between 1720 and 1744 was supervised by several architects, including Johann Lukas von Hildebrandt and Maximilian von Welsch. Although much of it destroyed during WWII, it has been completely rebuilt as it was before the war. However, it is associated mainly with the name of Balthasar Neumann, the creator of its famous Baroque staircase.
Early eighteenth-century. For Joseph Allan, Master Shipwright of the Deptford Dockyard in 1705. Staircase of circa 1710. Three twisted balusters to each tread.
Early eighteenth-century. For Joseph Allan, Master Shipwright of the Deptford Dockyard in 1705. Staircase of circa 1710. Three twisted balusters to each tread.
New Square at Lincoln's Inn, which contains eleven sets of legal chambers, was begun by Henry Serle in 1680, largely on his own land. Members of the Inn objected to this development, but, after an agreement of 1682, the square was adapted for its benefit. Serle died in 1690 and the work was completed by Nicholas Barbon. New Square is built of brown brick with red brick dressings. It was originally three storeys high (a fourth storey was added in the eighteenth century), and has basements. The windows have gauged brick segmental arches and slightly recessed sashes. The stone doorcases have architraves and pulvinated friezes, and the cornices, carried on consoles, have broken pediments. There are cast-iron railings to the areas with urn finials.
Louis XIV commissioned the Mirror fountain around 1702. Built facing the King’s Garden, the sculpture with two dragons framing the pool was entrusted to Jean Hardy. Installed on three levels, it leads to three paths and four antique-style statues, including one of Apollo.
[Versailles website]
The Palace of Versailles was created at the instruction of Louis XIV, and was the centre of French government and power from 1682, when Louis XIV moved from Paris, until Louis XVI and the royal family was forced to return to the capital in 1789.
The chateau is built around a hunting lodge established by by Louis XIII, and was created in four phases: 1664–68, 1669–72, 1678–84 and 1699–1710, by the architects Le Vau, Le Nôtre, and Le Brun.
Elevation of il Gesu. The principal church of the Jesuits in Rome, il Gesu was built between 1568 and 1575, to the designs of Vignola and Giacomo della Porta; and Baciccia, Antonio Raggi and Leonardo Retti (nave ceiling). The marble decoration of the nave interior is of a later date.
The baroque duomo (cathedral) of San Giorgio dominates the Ibla hill-top. It was built by Rosario Gagliardi in 1744 although the neo-classical dome was not built until 1820.
Castle front (Est.1658) along a three-kilometer axis with Herm figures fence. The fence artworks are by Mathieu Lespagnandelle (1616–1689), created between 1659 and 1661, some busts were not finished because of Nicolas Fouquet’s arrest. These busts have the particularity of having a double head in order to be seen from the exterior as well as inside the domain. Eight in total representing Hercule, Zéphyr, Vulcain, Apollon, Cérès, Mercury, Minerva and Flora.
These are just some of the many sculptures and statues at the estate created in the 17th century by famous sculptors.
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Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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About Pixels - #castle #architecture #monument #art - #VLV #Maincy #FR
Baroque castle chamber intended for the King, ground floor and facing the garden. The King will never sleep here but arrested Nicolas Fouquet.
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Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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About Pixels - #architecture #castle #monument #interior - #VLV #Maincy #FR
43, King Street, Westminster, was built for Admiral Russell, 1st earl of Orford, in 1716-17, probably to designs by Thomas Archer. The admiral's social connections may have helped him break the uniformity of Inigo Jones's Covent Garden piazza which the house overlooks. The house is of brick with stone dressings, the painted stucco being added at a later date. It has three storeys with an attic and basement. The facade has four giant Composite fluted pillasters on rusticated piers at ground-floor level. The centre (seen here) is three windows wide, with narrower flanking bays containing two windows (2:3:2). The entablature comes forward above capitals with dosserets. The attic storey has a cornice, and its central section (seen here) was raised in the nineteenth century, probably in 1871, when two iron vases were placed at either end. This replaced a parapet that was ramped up to a central window. The windows at the centre have elliptical arches and impost strings at first and second-floor levels, but originally they were divided by sunken strips.
Longitudinal corridor on the first floor - it leads to several rooms. Fouquet's apartment, courtyard side, and his wife's garden side, twelve meters thick, with an antechamber, a bedroom (main room of an apartment where the relatives have free access, it is the place of sociability where they sleep, receive guests, take meals and study.
Currently, Ms. Fouquet's room is divided into two rooms, a Louis XV cabinet and a Louis XV bedroom. The right part of the first floor is only briefly worked on.
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Details
Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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About Pixels - #art #bust #roman - Château de Vaux-le-Vicomte (Est.1658)
Gray's Inn Square was formed by joining two older courts between 1685 and 1693. The three terraced sets of chambers and a gatehouse are built of brown brick with red brick dressings, and have brick bands between floors. The ranges are of four storeys over basements, and have wooden eaves cornices with brackets. The windows have gauged brick flat arches. The sashes are in flush boxing. The stone doorcases give access to the sets of chambers and have broken segmental pediments carried by consoles. The balls over the doors are inscribed 'with figures [=numerals] for distinction'. Gray's Inn Square was much repaired after War damage.
Entrance to the almshouses at Trinity Green, Whitechapel, founded through the benefaction of Captain Henry Mudd of Ratcliff (d. 1692) and built in 1695 by William Ogbourne, master carpenter, for the Corporation of Trinity House. The residents were '28 decayed masters and commanders of ships or the widows of such'. The almshouses are in two facing rows, one storey high, with basements, and a wooden block and bracketed eaves cornice. The end of each row of the almshouses on Whitechapel Road terminates with an elevation of two storeys in brick with stone dressings, rusticated angled stone quoins, a modillioned cornice and a central cartouche with an inscription (as seen here). At ground floor there are two windows, blind on the left (as here), but, on the right, with flush shutter boxes and stone architraves. Both pairs of windows are decorated with grotesque masks as keystones. Above, in each case, there is a brick niche with a stone architrave set in a gable with a pediment. The ships on the copings are fiberglass replicas of a marble pair carved by Robert Jones (originals in the Museum of London).
The Smolny Convent (1 Rastrelli Square) was constructed at the behest of Empress Elizaveta Petrovna in 1748-1769 (architect F. Rastrelli), in the plan it forms a square in the shape of a crucifix, made of cell buildings and widows' house, in the centre is the five-domed Smolny Cathedral (see Church of the Holy Resurrection). Four single-domed churches on the corners enrich the silhouette of the ensemble – a masterpiece of Elizabethan Baroque. The facades are lavishly adorned with modelling; the corners are finished with tufts of columns, ornamented window-frames and bow-shaped pediments above the entrance. According to Rastrelli's plan a 160-metres high bell-tower was to be constructed (never constructed, the model is kept in the Scientific-research Museum of the Academy of Arts).
www.encspb.ru/en/article.php?kod=2804004173
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Formal garden and castle, the garden is designed by landscape architect André le Nôtre.
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Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 for Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV. The name means a symbol of power and influence and was intended to reflect the grandeur of Nicolas Fouquet. The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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About Pixels - #architecture #castle #park #monument - #VLV #Maincy #FR
House of c.1690 in Dartmouth Row, Lewisham, but subdivided in the late nineteenth century. Two storeys with attic and basement. Red brick with stone dressings. Cyma bracketed eaves cornice. High-pitched roof (now slated but originally tiled). Formerly had roof balustrade. Projecting centrepiece with stone quoins. Stone bands at plinth and first-floor levels. Door placed asymmetrically. Stone doorcase with carved frieze and cornice on consoles. Windows have flat brick arches with stone keystones containing grotesque masks (compare Queen Anne's Gate, Westminster). Renewed windows in flush shutter boxes.
Stadtschloss Potsdam, a reconstruction of the Hohenzollerns' palace torn down by the Communist regime.
Georg Wenzeslaus von Knobelsdorff, original architect, for Frederick the Great, Pussia's King.
The reconstruction, which was inaugurated in January 2014, serves as the seat of the Brandenburg state parliament and has a functional interior design designed by Peter Kulka.
Potsdam - Germany
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Heavy brick entablature below parapet, looking up towards a dormer with segmental pediment, at Cromwell House, 104 Highgate Hill, built in 1637-38 for Richard Sprignall, a Captain of Train Bands. The architect is not known but the house has been compared to the work of Nicholas Stone and Peter Mills. It is of red brick, with rubbed brick decoration, and has two storeys with basement and attic, seven bays wide. The centre section projects and is emphasized with quoins. The cornice is also of brick. The centre window (the top seen here) has a double lugged and moulded architrave in brick. The remaining windows have moulded surrounds. All the windows were originally casements, now sashes.
21 Crow Lane, Rochester, Kent, is an early eighteenth-century house of three storeys. It has a brick ground floor and is timber framed above with external weatherboarding. Sash windows (six on six panes) with moulded architraves, those windows at either end are narrower than the remainder.
The Matrons' College in The Close, Salisbury, was established by Seth Ward in 1682, perhaps to designs by Christopher Wren, or at least approved by him, since Wren was a friend of Ward's. The structure is of brick, two storeys high on a projecting plinth, and has a hipped roof with tiles. There is a string course at first floor level and a bracketed and moulded eaves cornice. It is thirteen bays wide with projecting wings that have stone quoins. The windows are two-light casements with stone surrounds and mullions, set flat except for slight outer mouldings. Each of the two secondary doorcases (one of which is seen here on the right) has an architrave surround, a pulvinated frieze, a cornice and a pediment with a coat-of-arms in a cartouche. The doors themselves have flat panels.
Newdigate House, 64 Castle Gate, Nottingham, was built for Thomas Newdigate around 1675. Later Marshall Tallard was held prisoner there after the battle of Blenheim. The house is of three storeys with an attic. It is now stuccoed, has ashlar dressings, and a hipped slate roof. The ashlar doorcase has a lugged moulding and a broken segmental pediment on volutes. The door has six fielded panels.