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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 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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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).
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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
IMG_6670
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.
Chiesa di Santa Caterina d'Alessandria / Church of St Catherine of Alexandria
Palermo, Sicily
IMG_2558
Restoration House, Crow Lane, Rochester, is largely from the late sixteenth century and the mid-seventeenth century. The house was conveyed to Henry Clarke, Recorder of Rochester, in 1607. The current name derives from Charles II's visit in 1660. It is of red and brown brick in English bond, with a Kent tile roof. Two storeys with attics. The core is two separate buildings of 1454 and 1502-22 to the north and south of the site. The south wing contains a great deal of late sixteenth and early seventeenth century work, and fits a traditional dating to 1587. The north and south buildings were linked during another phase of building between 1600 and 1640, and further internal work was undertaken by Henry Clerke's son, Sir Francis, betwen 1660 and 1680. The main front was refaced with a porch probably dating from the 1620s. This porch has a giant-order of pilasters, a round-headed doorway with niche above, and the basement is rusticated. Most of the windows are casements with mullions and transoms. At first-floor level the windows are in raised and lobed architraves, some with rusticated aprons below. The ground-floor windows are in rusticated surrounds. The remaining windows are sashes in flush surrounds.
Restoration House, Crow Lane, Rochester, is largely from the late sixteenth century and the mid-seventeenth century. The house was conveyed to Henry Clarke, Recorder of Rochester, in 1607. The current name derives from Charles II's visit in 1660. It is of red and brown brick in English bond, with a Kent tile roof. Two storeys with attics. The core is two separate buildings of 1454 and 1502-22 to the north and south of the site. The south wing contains a great deal of late sixteenth and early seventeenth century work, and fits a traditional dating to 1587. The north and south buildings were linked during another phase of building between 1600 and 1640, and further internal work was undertaken by Henry Clerke's son, Sir Francis, betwen 1660 and 1680. The main front was refaced with a porch probably dating from the 1620s. This porch has a giant-order of pilasters, a round-headed doorway with niche above, and the basement is rusticated. Most of the windows are casements with mullions and transoms. At first-floor level the windows are in raised and lobed architraves, some with rusticated aprons below. The ground-floor windows are in rusticated surrounds. The remaining windows are sashes in flush surrounds.
Chiesa del Gesù, Palermo, Italy
church built by the Jesuits, 1590-1636; every wall surface inside covered with sculpture, pietre dure, stucco, and various color marbles
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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. Projecting centrepiece with stone quoins. Stone bands at plinth and first-floor levels. 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.
21 Crow Lane, Rochester, is an early eighteenth-century house of three storeys. It has a brick ground floor and is timber framed above with external weatherboarding. The door is placed asymmetrically. Sash windows (six over six panes) with moulded architraves, those windows at either end are narrower than the remainder. External shutters at ground-floor level. Doorcase with moulded surround and shell hood on console brackets. Door has six fielded panels and a rectangular overlight divided in two. Iron doorscraper of unusual design.
Eighteenth-century house (pre-1753) at 30, Dartmouth Row, Lewisham, in brown brick. The projecting central section of the facade has brick quoins. The windows have gauged brick flat arches with recessed sashes in stuccoed reveals.
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
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)
The Basílica de Nuestra Señora de la Soledad is located four blocks west of the Cathedral on Avenida Independencia. It is built between 1682 and 1697 by Father Fernando Méndez on a site where supposedly an image of the Virgin Mary appeared 'inside a box". It is of Baroque style "finished in 1690". Its front is made of a reddish stone sculpted to look like a folding screen.
Oaxaca de Juárez, Mexico
29 January 2014
2014-Mexico 1580
Red and gold, lit by the immense crystal chandelier hanging below Marc Chagall's brightly coloured ceiling, the Italian-style horseshoe-shaped auditorium has 1,900 red velvet seats. The magnificent painted-canvas house curtain imitates a draped curtain with gold braid and pompoms.
Early eighteenth-century house at 26 Lincoln's Inn Fields in brown brick at ground floor level and multi-coloured stock brick above, heavily restored in the twentieth century. Four storeys with attic and basement. Original wooden doorcase with panelled reveals. Carved console brackets carrying a hood, and carved frieze with grotesque head wearing a plumed headdress. Door with six fielded panels and plain rectangular overlight.
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.
May 2019.
Central London Outdoor Group (CLOG) long weekend in Turin.
Venaria's Palace was built in the 17th century in Baroque style for Charles Emmanuel 11, one of the Savoy dukes.
21, Albury Street, Deptford, was built by Thomas Lucas between 1705 and 1717. The doorcase has panelled pilasters and hood on carved brackets. The door is nineteenth-century and has a rectangular fanlight.
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. The door is placed asymmetrically. Sash windows (six over six panes) with moulded architraves, those windows at either end are narrower than the remainder. External shutters at ground-floor level. Doorcase with moulded surround and shell hood on console brackets. Door has six fielded panels and a rectangular overlight divided in two. Iron doorscraper of unusual design.
37, Albury Street, Deptford, built by Thomas Lucas between 1705 and 1717. It is stock brick with red brick dressings. Sash windows in flush mounted frames. Recessed panels below ground-floor windows. The sunken windows at basement level have been blocked up.
Blenheim Palace is home to the 11th Duke and Duchess of Marlborough and the birthplace of Sir Winston Churchill.
Set in 2100 acres of beautiful parkland landscaped by ‘Capability’ Brown, the magnificent Palace is surrounded by sweeping lawns, award-winning formal gardens and the great Lake, offering a unforgettable day out for all.
Kilian Ignaz Dientzenhofer + Christoph Dientzenhofer, architects
"The construction had started in 1626 and the Holy Hut was blessed on March 25, 1631. The architect was the Italian Giovanni Orsi; the project was financed by a noblewoman of the Lobkowitz family.
The Face wall in Baroque style was designed by the architects Christoph Dientzenhofer and Kilian Ignaz Dientzenhofer and added at the beginning of the 18th century." [sic]
Hradčany, Prague, March 1995
Image (178)
The marble carvings suggest that this is the Chapel of the Spanish Langue of the Knights of St. John. The maltese cross was adopted as the symbol of the Knights of St. John in the 16th century. It can be seen on the altar in this picture. It is now a national symbol of Malta.
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
architect - Matthäus Daniel Pöppelmann
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Kronentor [Bearbeiten]
Das Kronentor des ZwingersDer in aller Welt bekannte und wohl der am meisten fotografierte Teil des Zwingers ist das Kronentor.
Das Kronentor zeigt durch die Säulenarchitektur Merkmale des italienischen Hochbarocks und antiker Elemente eine ´harmonische Verschmelzung eines Triumphbogens und eines Torturms´. Über den Säulen des Torweges prangen das königliche Zepter, die gekreuzten Schwerter und über dem Torbogen wieder das sächsische Wappen. Außerdem zeigt das Kronentor noch griechische Helden und Götter z.B. Herakles, Athene noch weitere Wassergottheiten. Auf der Turmspitze tragen vier polnische Adler die Nachbildung der polnischen Königskrone. Das Dach besteht aus vergoldetem Kupfer und zeugt für die sächsische Prachtentfaltung.
Dem Tor gegenüber auf der Westseite befindet sich ein weiteres Portal mit Blick auf das bronzene Reiterdenkmal des König Johann von 1889 auf dem Theaterplatz.
April 22, 2022 - "Saint Charles Borromeo's Church, locally known under the Latin name of Sint-Carolus Borromeus, was built between 1614 and 1621 on instructions of the Jesuit order. Hardly a square foot was untouched by art works, and there are dozens of 17th century depictions of the church, it apparently being a popular travel destination at the time.
Among the art works, were 39 ceiling paintings by Peter Paul Rubens (his studio, and with assistance of Anthony Van Dyck), Antwerp's foremost and one of the world's most famed baroque painters. Unfortunately they have all gone now, after a fire destroyed them and many other works in 1718. The church was subsequently rebuilt and opened its doors again. Sketches of about half of the ceiling paintings by Rubens have been preserved and are distributed in various art collections around the world.
The church received its present name only in 1803, when the church became a parish church, after the Jesuit order was disbanded by the pope.
The facade of the church is impressive and is higher than the church building itself. It is inspired by the Jesuit's mother church in Rome, the Gesu, which was built some 4 decades earlier. The sumptuous decoration on the facade is partly attributable to Peter Paul Rubens.
The High Altar of the church is most remarkable. Behind the altar is a large chest which contains 4 different canvasses. With a system of pulleys, the paintings can be changed throughout the year, according to the liturgical religious year. Two of the original paintings by Peter Paul Rubens, were requisitioned by Empress Maria Theresia of Austria in 1776.
Impressive art works in the church further include two long rows of wooden confessionals, all with sculptures of angels in front. Wooden panels also depict the lives of two of the Jesuit's order principal saints : Saint Ignatius and Saint Francis Xavier.
The Lady Chapel on the right side of the church, is exuberantly decorated with marble, paintings and sculptures. The chapel is dedicated to the Virgin Mary. The painting 'The Assumption of the Blessed Virgin Mary', a copy after Peter Paul Rubens, is displayed behind the altar. Also here, the original painting by Rubens, was 'purchased' by the Empress Maria Theresia in 1776. The ceiling relief in stucco was also designed by Rubens (who seems to have been a profligate designer as well as a painter).
Some parts of the church are only open on certain days (wednesday when we checked lately). They include the Sacristy, which is a repository for textile hangings and vestments from the 17th and 18th centuries, and the Lace Room.
The tower of Saint Charles Borromeo's Church is not visible when you enter from the main facade. It is located along Sint-Katelijnevest, and dates from around 1617 to 1721. The splendid tower has only recently been restored.
Saint Charles Borromeo's Church offers outstanding baroque architecture, outside and inside. It is unfortunate that so many buildings have been built adjacent to the church, preventing it being viewed unhindered." Previous text from the following website: www.discoverflanders.com/antwerp-carolusborromeus.asp
Clifton House, 17 Queen Street, King's Lynn, was originally two hall houses dating back to the thirteenth and fourteenth centuries. The elevation to Queen Street was refronted in 1708 (the date is on a rainwater hopper). The windows have sashes under gauged skewback arches. The wooden doorcase is recessed with two barley-twist columns in antis and modified Corinthean capitals. There is a flat hood with guttae carrying a segmental pediment. Is this doorcase earlier in date and retained when the front was remade in 1708?