View allAll Photos Tagged ionic
Ionic capital from the Temple of Athena at Priene (near Kusadasi in modern Turkey), built by the architect Pytheos who also designed the famed Mausoleum of Halicarnassus, a capital from which, remarkably similar, is displayed adjacently.
These architectural elements are currently housed in one of the basement galleries of the British Museum, which these days only rarely seem to be open to the public.
The idea for this photo came to me from an article I read in yesterday's edition of the Arizona Republic, about Bob Estrin, a systems-analyst-turned-professional-photographer whose works are being displayed today at the Rowena Theater in Chandler. The article described "a 40-yard walkway bounded by eight Ionic Greek columns," located near the San Marcos Hotel, where Mr. Estrin had shot some photos on the day of his interview. I stopped by the San Marcos, quickly spotted the walkway referred to, and snapped a number of pictures of my own. This is one of the results.
Portable Ionic Dryer
- This dryer uses Tourmaline technology to dry faster with less damage to the hair.
Features:
• Tourmaline for 50% faster drying time and less hair damage
• Built in ionic generator
• 2 speeds with 4 heat options
• On/Off control
• Extra large hood w/adjustable angle and front visor
• Adjustable height control
• Lockable wheels
Specifications:
• 1875 watts
• (9) Nine-foot cord
The Blue Star Line's refrigerated cargo ship SS Ionic Star of 5,594 GRT, was inbound to Liverpool from Rio de Janeiro and Santos with a cargo of cotton, fruit and meat. On 16 October 1939, she ran aground on Mad Wharf, about a mile west of Formby Point. Although her cargo was salvaged, the ship was declared a total loss. A contract was let for her salvage, but the position of the ship made this too difficult to achieve and she was later used for target practice during the Second World War.
Taken from Wikipedia - Goolge search Southport Shipwrecks.
Ionic capital from the Athenian tropaion at Marathon. Set up sometime after the Battle of Marathon, 490 BCE.
Archaeological Museum of Marathon, Greece, BE 13 (Greek Ministry of Culture; Wikipedia; Marathon on Pleiades; the Soros on Pleiades)
Laila Ali LADR5604 Ionic Soft Bonnet Dryer, Purple and White
Ionic soft bonnet dryer uses ion infused airflow to dry hair quickly, and is perfect for drying roller sets and braids as well as processing chemical and conditioning treatments. The ionic technology helps retain moisture to prevent...
vmississippi.com/womens-fashion/laila-ali-ladr5604-ionic-...
Templar Gate Lodge was one of the gate lodges to the estate of Killua Castle and is now a private residence. Constructed with ashlar limestone about 1800, it also has a front portico with Greek Ionic style columns that gives it character.
Clonmellon is a small rural village in County Westmeath on the N52 road between Ardee and Delvin. The origins of the village go back to around 1775 when Sir Benjamin Chapman of nearby Killua Castle built cabins for his estate workers. The official Irish name for Clonmellon is Ráistín along with its variants and it is believed that this is the name used by local Irish speakers since the early to mid 19th century. An alternative Irish name for the village was Cluain Mioláin and the earliest known English version of Clonmellon dates from the last quarter of the 19th century. As to its origins, I quote from the link below .... “A letter from Hugh Dillon, agent to Sir Thomas Chapman, to Lieutenant Wynne dated 11/3/1837 states: “The town of Clonmellon was first commenced by the late Sir Benjamin Chapman about between sixty and seventy years ago and got its name from a moat near the town called ‘Cruckmillion’”.
The original 18th century village consisted mainly of small thatched worker’s cottages and it was said the whole place had become shabby and an “embarrassment” to the landlord, Benjamin James Chapman MP. Therefore, during the 1830’s Benjamin had the village rebuilt and its current layout with market square dates from that time. Some buildings pre-date the 1830’s such as the Credit Union building, the Old Market Square and St John Church of Ireland.
Nearby attractions include Killua Castle with its attractive 19th century gate lodges and the Walter Raleigh obelisk (built c .1810), Ballinlough Castle with gardens and Drewstown Estate nature walk. Killua Castle was originally built around 1780 as a neo-classical style house which was remodelled and extended from the 1830’s to take the form of a Gothic style castle, as it appears today. The Chapman family originally settled in the area during the 1660’s, acquired a large estate there of around 9,000 acres and made it their family seat in Ireland. A full restoration of the castle building has been completed and the castle and its grounds are open to the public on Saturdays. The castle was a spectacular roofless ruin when it was purchased by its current owners (Allen & Lorena Krause) in 2000.
The seventh and final baronet, Sir Thomas Chapman (father of T.E. Lawrence) who lived at Killua Castle died in 1919 and after that, ownership passed through several owners. In 1944, its fittings were sold and not long after, the castle's roof was removed, its lead sold and exposure to the elements eventually caused its internal floors to collapse. As an impressive ruin, its roofless battlemented walls stood exposed and prey to vandals until its restoration some 65 years later.
.
References:
www.buildingsofireland.ie/niah/search.jsp?type=record&...
www.logainm.ie/en/1413957?s=Clonmellon (Origins of the name Clonmellon).
www.buildingsofireland.ie/niah/search.jsp?type=record&... (Killua Castle).
dailyscribbling.com/the-secret-life-of-irish-castles/kill... (Give s a history of the Chapmans and Killua).
Hudson Kennaugh - Ionic Balance Linxcel Racing, Kawasaki 1000 at Clearways Brands Hatch 9th April 2012 in the Metzeler National Superstock 1000 Championship.
Copyright Mark Andrews 2012
All rights reserved
An Ionic Pentacluster pendant, based on Gwen Fisher's new Ionic Polyhedra pattern at www.beadinfinitum.com. Glass round beads and Japanese seed beads. Created November 2010.
Acanthus column of maiden girls (caryatids) from the facade of the Treasury of Siphnos. The two korai are considered exquisite examples of Ionic art. Archaeological Museum of Delphi.
Fun, dramatic gold leaf pillar table makes a bold statement! Single gold leaf Ionic column supports a luxuriously thick bevel-edged glass top. Table circumference 4'; seats 4-6. In excellent condition overall, with no chips to the glass. Gold leaf finish on column has no outstanding issues. Leave as it is, or lacquer in black or white for that modern Kelly Wearstler look! A perfect addition to a contemporary or traditional home.
PRICE: $350
Please email for more pictures and to schedule a viewing at uncutevintage@yahoo.com
You can buy T3 73522 Mane Tamer Ionic Ceramic Tourmaline Flat Iron Black 1.75 inch today at the best price and there is limited time offer. And than get special discount at T3 73522 Mane Tamer Ionic Ceramic Tourmaline Flat Iron Black 1.75 inch, Check out our special offers at our store today. Read More and Save Offer from AMAZON
Discount $112.20 click here to check price from AMAZON
Click here to check costumers review
The t3 manetamer is designed with wide, 1.75 inch tourmaline ceramic infused plates heated by intelligent tourmaline singlepass technology. the combination of perfectly controlled, high-yet-gentle heat over a large surface area, straightens thick, coarse, curly hair types that overpower lesser irons. digital tourmaline singlepass heating, the brains of the operation, monitors plate temperature in real-time unlike others that check periodically. the tourmaline singlepass unfailingly maintains plate temperature translating into effortlessly shiny results. the t3 manetamer can be used on towel-dried, wet hair. the channeled and vented plates whisk excess water away turning it into soothing steam. at a molecular level, steam relaxes the chemical bonds present in difficult-to-style hair transforming it into soft, silky, shiny and straight tresses.
The Ionic column is considerably more complex than the Doric or Tuscan. It usually has a base and the shaft is often fluted. On the top is a capital in the characteristic shape of a scroll, called a volute, or scroll, at the four corners. The height-to-thickness ratio is around 9:1. Due to the more refined proportions and scroll capitals, the Ionic column is sometimes associated with academic buildings.
(Wikipedia)
There was a great turnout with members and past members coming from near and far.
J.K. KERR. James Kirkpatrick Kerr 1841-1916
The Lodge was named after Senator J. K. Kerr who was a DDGM the year Kerr Lodge 230 was incorporated. He subsequently went on to become Grand Master.
The following Biography was provided by W. Bro. David Lawrence, Ionic Lodge, No. 25 GRC, Toronto
James Kirkpatrick Kerr was born near Guelph, Ontario, on August 1, 1841, the son of Robert Warren Kerr (City Chamberlain of Hamilton) and Jane Hamilton Kirkpatrick (daughter of James Kirkpatrick, County Treasurer of Wentworth County). He was educated at the Galt Grammar School (Dr. Tessie’s).
In 1864 he married Anne Margaret Blake, the daughter of the Hon. W. H. Blake, Chancellor of College University). There is no record of any children and his wife died in 1882. In December 1883 he married Cecil Staveley Pinhorne (who would be the President of the Women’s Welcome Hostel in 1908). She was the niece of the Right Honourable Staveley Hill, QC, of London, England.
James Kirkpatrick Kerr became a barrister in 1862 and a bencher of the Law Society in 1879, being named as a QC in 1874. He practiced with Messrs Blake, both of who were active in law and politics, Edward Blake as an MP from 1867 onwards and Samuel Blake as a judge. In 1885 he became a partner in Kerr, Macdonald, Davidson and Paterson. He was a member of the Liberal Party and was President of the Liberal Association. The Governor-General, Earl Minto, called him to the Senate on March 12, 1893. On January 16, 1896 he was named as Speaker of the Senate and in 1911 he was created a Privy Councillor of Canada.
He was an Anglican and served as a delegate to both the Diocesan and Provincial Synods.
He was active in civic affairs and was one of the founders of the Havergal Ladies College in Toronto. He was also a Director of the Canadian General Electric Company.
He was present at the Coronation of King George V and Queen Mary in 1911 and was presented to their Majesties in June 1911.
M. W. Bro. James Kirkpatrick Kerr, KC, died at his home in the city of Toronto on December 4, 1916, after a long illness.
MASONIC CAREER
James Kirkpatrick Kerr was initiated into Ionic Lodge, No. 25 GRC, Toronto in 1865 and served as WM. He was elected as DDGM in 1874 and later appointed as Grand Representative for the Grand Lodges of Indiana, Missouri, New Jersey, Texas and Utah. He was elected Deputy Grand Master at the nineteenth Annual Communication in July 1874 when M. W. Bro. William Mercer Wilson was elected as Grand Master (for his tenth term). [Note: and R. W. Bro. Thomas Bird Harris was elected for his twentieth successive term as Grand Secretary, although he died shortly afterwards.] On January 16, 1875, M. W. Bro. Wilson passed to the Grand Lodge above and R. W. Bro. Kerr assumed the duties of that office for the next six months. He was 34 years of age at the time. At the Annual Communication in July 1875, he was elected as Grand Master and re-elected in July 1876.
One of the first challenges facing the new Grand Master concerned the request for a Warrant of the brethren interested in forming a new Lodge in London, to be called ?Eden. Opposition from other Lodges in the area resulted in the issue of a Dispensation to meet but when Eden Lodge attempted to initiate a candidate M. W. Bro. Kerr instructed the Grand Secretary to immediately write to the Lodge and prohibit the meeting as exceeding the authority granted by the Grand Master. In a welter of bad feeling the WM and members of Eden Lodge established the -Grand Lodge of Ontario- with Eden Lodge as a founder. The Grand Master then summarily suspended all members of Eden Lodge, including some dissatisfied members of legitimate Lodges who had joined Eden. Recognition by the Grand Lodge of Texas was almost immediately withdrawn and no other Grand Lodge extended recognition, most have concluded that the move was irregular and revolutionary, spurious and unconstitutional. The issue of Eden Lodge and the -Grand Lodge of Ontario- would not be resolved until 1879-80.
A second challenge was also posed in 1875 when three Lodges in Manitoba District, after mature reflection of the needs of Freemasonry in their new Province, formed a new Grand Lodge. As noted by W. S. Herrington, ?The Grand Lodge of Canada, upon the recommendation of the Board of General Purposes, extended due recognition to the new western star in the Masonic firmament.
YORK RITE
In Capitular Masonry he was a Royal Arch Mason.
He was a member of the Sovereign Great Priory of Canada and had been Provincial Grand Prior. He visited England and helped to secure the recognition of the Great Priory of England and Wales, as well as its consent, to the establishment of the Sovereign Great Priory of Canada as an independent and sovereign body. For his work in this endeavour he received the Grand Cross of the Temple from the Great Priory of England and Wales at the hands of the then Great Prior, HM King Edward VII.
SCOTTISH RITE
He was a member of the Scottish Rite and was a Grand Inspector General, 33.
[Sources: (1) A History of the Grand Lodge A. F. & A. M. of Canada in the Province of Ontario 1855 - 1955, by Walter S. Herrington and Roy S. Foley, Published by the authority of Grand Lodge, McCallum Press Ltd., Toronto, 1955 (page 126). (2) The History of the Grand Lodge of Canada in the Province of Ontario 1855-1930, by R. W. Bro. Walter S. Herrington, K.C., F.R.S.C., Deputy Grand Master. (3) Canadian Men and Women of their Time, by H. J. Morgan, 1898 Edition, copy held in the National Library of Canada.]
Copyright ©2011. All Rights Reserved.
LEAVE A REPLY
You must be logged in to post a comment.
SEARCH THE KERR LODGE WEBSITE
RSS FREEMASON NEWS FEED
Masonic Music for Lodge and Chapter
God, the Blazing Star
1813 Revival by Sussex of Restoration Chapter No 1, 1769
Composite Ionic capital. The impost block has palmettes. From 5th century AD.
Byzantine Museum, Thessaloniki, Greece.
Attention!: According to Google Streetview the columns were painted vivid yellow sometime between June and September 2019.
-----------------------
In downtown Cleveland, Ohio, on May 9th, 2020, on the north side of Frankfort Avenue, west of West 6th Street.
-----------------------
Getty Thesaurus of Geographic Names terms:
• Cleveland (7013608)
• Cuyahoga (county) (1002313)
Art & Architecture Thesaurus terms:
• awnings (300254200)
• black (color) (300130920)
• blackboards (300410506)
• brick (clay material) (300010463)
• capital letters (300055061)
• chartreuse (color) (300311523)
• doors (300002803)
• Ionic columns (300420009)
• parking meters (300003857)
• shop signs (300211862)
• street addresses (300386983)
• strip clubs (300265056)
• vivid yellow (300127796)
• white (color) (300129784)
Wikidata items:
• 9 May 2020 (Q57396735)
• 620 (Q842138)
• all caps (Q3960579)
• Connecticut Western Reserve (Q1126227)
• Downtown Cleveland (Q5303392)
• Greater Cleveland (Q5600502)
• May 9 (Q2556)
• May 2020 (Q55019753)
• Northeast Ohio (Q7057945)
• Treaty of Greenville (Q767317)
Library of Congress Subject Headings:
• Business names (sh85018315)
• Palms in art (sh97000120)
• Small business (sh85123568)
IONIC ANASSA and ATB Brownsville w/ Petrochem Trader, in Bayonne, New Jersey, USA. September, 2025. Copyright Tom Turner
The heart of the ancient city of Aphrodisias was of course the great sanctuary of Aphrodite, whose temple is still recognisable from surviving Ionic columns.
The temple was converted into a church in the Byzantine period, from which time parts of the apse survive along with several marble panels carved with geometric designs, scattered on the floor amongst the earlier architectural fragments.
The Ionic Temple at Rievaulx Terrace, built at the northern end of the terrace in the 1750s, believed to have been designed by Sir Thomas Robinson, based on the Maison Carree, in Nimes.
The interior was used as a dining room and is elaborately decorated, with a frescoed ceiling with mytholgical scenes.
Rievaulx Terrace forms a natural viewing platform above the Ryedale Valley, home to Rievaulx Abbey. The potential for the hillside to be used as a terrace was spotted by Thomas Duncombe II in the mid-18th century.
He commissioned a landscaper to compose the terrace between 1749 and 1757, with temples at either end and views, down through gaps cut in the trees, of the abbey.
There are two temples on the terrace, the Tuscan Temple and the Ionic Temple, the latter of which served as a kitchen and dining room for guests of the Duncombe family who came to visit.
The National Trust now look after the terrace and the temples, giving visitors the chance to experience the site as others did centuries ago.
The Ionic column is typically identified by its capital, which includes large paired spiral scrolls, or volutes. It has the tallest base of the three classic Greek orders.
54 Canal Street, Chinatown, Manhattan
Called “the first strictly high-class tall bank and office building” on the Lower East Side, with a design “equal in every respect [to] the highest grade banking buildings throughout the city,” the S. Jarmulowsky Bank Building was completed in 1912 as the architectural showpiece of one of the neighborhood’s most prominent bankers. Born in 1841 in what was then the Russian province of Lomza, its owner, Sender Jarmulowsky, established his business on the Lower East Side in 1873 and was operating at this location by 1878. Known for his honesty and conservative financial approach, Jarmulowsky grew wealthy over the following three decades providing steamship tickets and banking services to the immigrants of the surrounding neighborhood, which was unrivaled as the world’s largest Jewish community. He was also one of the Lower East Side’s leading philanthropists, playing an instrumental role in the construction of the Eldridge Street Synagogue, and serving as its first president.
In 1911, the firm of Rouse & Goldstone filed plans for this twelve-story building, which towered over the tenements of the Lower East Side when it was completed the following year. A pioneer in introducing the prevailing skyscraper aesthetic of New York’s major office districts to the neighborhood, the S. Jarmulowsky Bank Building was executed in the “modern Renaissance style” and the tripartite configuration that was standard for tall buildings of the time.
Accessed through a classical corner entrance, Jarmulowsky’s banking hall and offices were housed in the building’s rusticated stone base; manufacturing lofts occupied the rest of the building, including its ornate terra-cotta crown. Sender Jarmulowsky died shortly after the building’s opening, and his bank failed in 1917. The building was then sold by his sons, and continued to house a variety of industrial tenants into the twentyfirst century. Today, the richly decorated S. Jarmulowsky Bank Building remains one of the area’s tallest and most distinctive buildings, and one of a handful of structures that “encapsulate the Jewish immigrant experience” on the Lower East Side.
The S. Jarmulowsky Bank Building is a twelve-story building executed in the tripartite configuration that was standard for tall buildings of its time. It is a notable example of a skyscraper in which the three major portions of its main facades are executed in different materials. A neo-Renaissance-style building, it is ornamented with a wealth of classically derived detailing; located on a prominent corner site on the Lower East Side, it features a rounded corner—slightly recessed above the second floor—which extends the building’s full height.
Extending for 65 feet along Canal Street and 73 feet along Orchard Street, the building is generally symmetrical, except that it extends a bay further on Orchard Street than it does on Canal. Originally and into the early 1990s, its corner was crowned by a two-story-high, circular pavilion that was probably based upon the ancient Choragic Monument of Lysicrates in Athens.
Although the building remains largely intact today, the most important losses to its historic fabric have been the replacement, with solid panels, of the balustrades in front of its eleventh-floor windows; the removal of its rooftop cornice; the removal of the balustrades and large urns from its rooftop parapet; and the removal of its circular rooftop pavilion. In addition to its two main facades, the S. Jarmulowsky Building has two sparely ornamented brick secondary facades, which are visible from Allen and Division Streets as well as other surrounding public thoroughfares, including the Manhattan Bridge.
At the time this description was written, in 2009, a sidewalk bridge spanned the entire length of the building’s main facades. Photographs taken in August of 2007 were used to describe features of the building’s base that were concealed by the sidewalk bridge.
The three-story-high base of the S. Jarmulowsky Bank Building is executed in rusticated Indiana limestone, although the lowest portion of the building’s ground floor may be marble or granite. (The ground floor has been painted many times, making identification of its materials difficult.54) The entrance to the building’s original banking hall is located at the base’s corner.
This entrance is accessed by a single curved granite step; a non-historic metal roll-down security gate with gate box has been installed at the entrance opening, which may originally have contained “fancy grilled doors.”55 A non-historic fluorescent light fixture is attached to the front of the gate box. The entrance opening appears originally to have had a wide transom bar, and it contains a multi-pane transom window, which may be historic. The corner entrance opening was entirely surrounded, originally, by a thick enframement, probably of terra cotta, containing foliate ornament, cartouches, and a bead-and-reel molding. The portion of this enframement below the transom has been removed and replaced with non-historic tile; a lock box for the security gate has been attached to the tile surface adjacent to the entrance opening on the west. A non-historic curved canvas awning is present just below the transom.
The corner entrance sits within a classical surround, featuring paired pilasters with Ionic capitals on high bases supporting an entablature. A non-historic metal bracket, formerly holding a sign, is attached to the westernmost pilaster. The entablature, which is curved to follow the round profile of the building’s corner, has a stepped architrave crowned by an acanthus-leaf molding, a projecting cornice with denticulated and egg-and-dart moldings, and a frieze containing incised lettering reading “S ▪ JARMVLOWSKY’S ▪ BANK ▪ EST ▪ 1873 ▪”; the entablature supports a balustraded third-story balconet. Between the transom and the entablature is a carved stone panel containing a clock at its center. A finely detailed surround containing rosettes and a helmeted figure—possibly Hermes, the Greek god of commerce—frames the clock, which is flanked by two seated figures, as well as carved foliate ornament. Other carved ornament within the panel includes a gear, a barrel, a chain, and a coiled rope.
The Orchard Street portion of the base has three, two-story-high round-arch-headed openings, each of which is crowned by a cartouche. Beneath the central opening of the three is a stone sill and blind stone balustrade, which is supported by the base of the ground floor. A nonhistoric metal security gate with gate box covers the northernmost opening, which may have been extended to the ground, resulting in the possible loss of its historic sill, balustrade, and base, which were identical to those of the central opening; an electrical box for the gate has been mounted to the façade just north of this opening. The southernmost of the three round-archheaded openings has always extended to the ground and contains a historic recessed, paneled metal fascia and return below its windowsill. This opening, and the central opening of the three, retain their historic tripartite window frames decorated with scrolls, cartouches, and bead-and-reel and egg-and-dart moldings, although the frames contain replacement sashes. All three of these openings retain their historic transom bars with vertically projecting anthemia. Non-historic canvas awnings have been installed at the two northernmost openings.
One square-headed door opening is located to the south of the three round-arch-headed openings on the Orchard Street façade. This opening retains its original molded surround crowned by a frieze, which is plain except for small carved panels containing urns and foliate ornament at its ends. Non-historic metal doors fill the door opening below a non-historic transom panel containing applied Chinese characters. A non-historic electrical box with conduit has been installed at the center of the frieze. Above the frieze is a heavy projecting cornice with egg-anddart molding; this, in turn, is crowned by an original square-headed window opening within a molded enframement flanked by scrolls. This window opening is covered by a metal grille, which is likely non-historic, and contains a non-historic window sash and infill.
The Orchard Street sidewalk is of plain concrete; two siamese pipes are present in front of the building.
The Canal Street façade of the building’s base contains one, two-story-high round-archheaded opening and one large storefront opening crowned by a baskethandle arch. Like the round-arch-headed openings on the Orchard Street façade, the one on the Canal Street façade is crowned by a cartouche; whether or not this opening retains its historic sill and balustrade, similar to those of the central round-arch-headed opening on the Orchard Street façade, is unclear, as the opening is covered by a non-historic metal security gate with gate box, which is partially concealed by a non-historic canvas awning. Like the round-arched openings on the Orchard Street façade, it retains historic framing elements decorated with cartouches and a bead-and-reel molding, but its transom sashes may have been replaced. Several non-historic signs have been attached to the ground-floor portion of the façade between this opening and the storefront opening.
Although two roll-down metal security gates have been installed at the storefront opening, it retains much of its historic infill, including its continuous, wide metal transom bar sandwiched between a projecting cornice with egg-and-dart molding below, and a denticulated cornice with acanthus-leaf molding above. The transom bar itself is decorated with cherubs, cartouches, and foliate ornament. The transom window mullions within the storefront opening may be historic. Possibly historic glazing and wood window-framing elements are present over the storefront’s eastern gate. A non-historic metal door with metal side and transom panels has been installed in the portion of the opening between the two gates.
The eastern portion of the storefront opening contains a historic metal entrance surround with paneled reveal. The surround is decorated with rope and acanthus-leaf moldings and foliate ornament; an entablature above the surround is filled with winged cherubs’ heads and cartouches joined by festoons. This entrance is crowned by an angular pediment with denticulated, egg-anddart, and acanthus-leaf moldings. Non-historic elements attached to the surround include an alarm box, electrical boxes with conduit, and a large light fixture. The entrance opening is filled with a non-historic metal roll-down security gate behind a pair of non-historic metal security doors with a non-historic transom panel filled with applied Chinese characters. Three non-historic awnings have been installed at the storefront opening.
The Canal Street sidewalk is of plain concrete and contains two metal hatches and one siamese pipe. A high vertical flue projects through, and for about fifteen feet above, the eastern hatch.
Much of the ground-floor portion of the building’s base is defaced with graffiti. The base’s top story has square-headed window openings with plain masonry sills, containing nonhistoric double-hung sashes, although at least some of the openings appear to retain their historic wood brickmolds. The lower portions of all of these openings, except for the southernmost opening on the Orchard Street façade, which is shorter than the others, are filled with non-historic brick. A non-historic metal box, possibly a camera, is attached to the brick infill of the northernmost Orchard Street opening. The entire base of the S. Jarmulowsky Bank Building is crowned by a heavy projecting cornice with denticulated and egg-and-dart moldings.
The shaft portion of the S. Jarmulowsky Bank Building, comprising the fourth through ninth stories of the Canal and Orchard Street facades, is faced with buff-colored Roman brick laid in Flemish bond. The building’s corner has three window openings per floor; the other window openings are paired, except for a single window opening in each southernmost bay of the Orchard Street façade. These openings feature soldier-brick lintels and plain masonry sills, as well as nonhistoric double-hung sashes, although many openings appear to retain their historic wood brickmolds. A non-historic metal grille projects from the southernmost portion of the Orchard Street façade at the fourth floor. This portion of the building is crowned by a continuous terracotta cornice.
The three-story terra-cotta crown, or “capital,” of the S. Jarmulowsky Bank Building, extending from the tenth through twelfth stories, is divided into a single-story lower portion, and a two-story upper portion. It appears to have been painted. As on the shaft portion below, each floor contains three window openings at its corner. The other tenth-floor window openings are paired, except for the single window opening in the southernmost bay of the Orchard Street façade, with each window within each pair separated by a pilaster containing a rectangular, recessed panel. Large scrolled brackets are located between the corner window openings; identical brackets, but paired, frame each pair of windows and the single window opening at the southern end of the Orchard Street façade. A continuous egg-and-dart molding runs along the top of the tenth floor.
A paneled parapet, much of which is non-historic, extends the length of both main facades, including the building’s corner, at the eleventh floor. Balustrades are located in front of the windows at the building’s corner; balustrades were also originally located in front of the other eleventh-floor windows, but were removed and replaced with solid walls at sometime in the 1980s or afterward. Two-story-high engaged columns with Corinthian capitals spring upward from the parapet at the corner; the corner window openings at the eleventh and twelfth floors are vertically separated from each other by paneled spandrels.
12 Wide, two-story-high plain pilasters with molded capitals resting on the parapet frame the corner and the southernmost, single window openings at the eleventh and twelfth floors of the Orchard Street façade. An identical pilaster is present at the western end of the Canal Street façade. Paired, plain pilasters with Corinthian capitals projecting forward from a ribbed background and resting upon the eleventh-floor parapet separate the other window openings, each of which has a tripartite configuration. Each two-story group of tripartite windows features spiralcolumn mullions with Corinthian capitals, and spandrel panels decorated with cartouches and egg-and-dart moldings, and is surrounded by denticulation. All of the tenth-through-twelfth-floor window openings appear to contain replacement sashes, although many appear to retain their historic wood brickmolds. A bead-and-reel molding runs continuously above the twelfth-floor windows. Above this, a continuous paneled band decorated with roundels and foliate ornament is framed by a rope molding below, and by denticulated and bead-and-reel moldings above, and runs the length of the main facades, including the corner. The building’s original projecting cornice above this band has been removed, and the parapet appears to have been coated with a cementitious material.
A large stepped and rounded pediment containing a cartouche is present on the building’s roof, at the southern end of the Orchard Street façade. Three paneled rooftop pedestals overlooking Orchard Street, and four paneled rooftop pedestals overlooking Canal Street, are also present. These originally supported large urns and were joined by balustrades; both the balustrades and the urns have been removed. The building’s corner retains the base of its original circular rooftop pavilion, which has also been removed. The base is paneled and features four large scrolled buttresses; the pavilion, as shown in a photograph taken shortly after the building’s opening, originally featured tapered columns with ornate, probably Corinthian, capitals. The round dome of the pavilion was ringed by eagles on paneled pedestals and was crowned by a pinnacle.56 A rooftop bulkhead is visible over the building’s Canal Street façade.
The south façade of the S. Jarmulowsky Bank Building is two bays wide at the third and fourth floors, and five bays wide at the fifth through twelfth floors. It is of brick laid in common bond, and has window openings above the second floor of varying heights, with plain masonry sills. Portions of the eastern end of this façade have been painted or coated with a cementitious material; the entire façade at the fourth floor and below has been coated with cementitious material. Non-historic grilles are present at the third-through-sixth-floor window openings. These openings contain a mixture of one-over-one and two-over-two double-hung sashes, all of which are likely replacements, although many appear to retain their historic wood brickmolds. This façade is crowned by a high, stepped brick parapet, which may or may not be original.
The seven-bay west façade of the building is of brick laid in common bond. Its window openings have plain stone sills and contain paired one-over-one, double-hung sashes, which likely are replacements. At the northern end of this façade, the brick is keyed into the building’s Canal Street façade; below the tenth floor, the northern portion of this façade is of the same lightcolored brick as the shaft portion of the building’s main facades, and from the tenth through the twelfth floors, it is of terra cotta. The upper portion of the northern end of this façade is decorated with panels and a variety of moldings. A large metal structure supporting two water tanks is visible over this façade.
The building has a notched southwestern corner containing a metal fire escape and square-headed openings. These openings contain metal doors, metal gates, and two-over-two double-hung sashes, which appear not to be original.
- From the 2009 NYCLPC Landmark Designation Report
This fallen Ionic column capital lies amidst other architectural fragments in the ruined ancient city of Ephesus, near Selçuk in modern day Turkey.
The Ionic Temple was built in the mid 1700s as a banqueting house by the owner of Duncombe Park, a few miles away. It is based on the Temple of Fortuna Virilis in Rome.
Dodona (Doric Greek: Δωδώνᾱ, Dōdṓnā, Ionic and Attic Greek: Δωδώνη,[1] Dōdṓnē) in Epirus in northwestern Greece was an oracle devoted to a Mother Goddess identified at other sites with Rhea or Gaia, but here called Dione, who was joined and partly supplanted in historical times by the Greek deity Zeus.
The shrine of Dodona was regarded as the oldest Hellenic oracle, possibly dating to the second millennium BCE according to Herodotus. Situated in a remote region away from the main Greek poleis, it was considered second only to the oracle of Delphi in prestige. Priestesses and priests in the sacred grove interpreted the rustling of the oak (or beech) leaves to determine the correct actions to be taken. According to a new interpretation, the oracular sound originated from bronze objects hanging from oak branches and sounded with the wind blowing, similar to a wind chime.[2] Aristotle considered the region around Dodona to have been part of Hellas and the region where the Hellenes originated.[3] The oracle was first under the control of the Thesprotians before it passed into the hands of the Molossians.[4] It remained an important religious sanctuary until the rise of Christianity during the Late Roman era.
Location: Dodoni, Ioannina, Epirus, Greece
A rather splendid Ionic order column. Have I just come back from Rome or Greece? Err no, this is the entrance to the Junior Library in Lancaster. I don't think you'll see a finer set of Ionic volutes!
There's not a lot of good Ionian columns in Lancaster - plenty of plain Doric style and a lot of Ionian/Corinthian 'composite' style - these have the volutes of the Ionian order but at 45-degrees to the entablature combined with the acanthus leaf decoration of the Corinthian order. Check out Lancaster Town Hall or the old Customs House (Maritime Museum) for examples of this.
Also here we have some fine flutings and the egg-and-dart motif between the volutes, on the abacus, and on the frieze above.
How did I become a classical architecture nerd?
D. Mertens (1977). Fig. 72 in: BARLETTA, Barbara (2001). The Origins of the Greek Architectural Orders. Cambridge University Press. ISBN 0 521 79245
---
Metapontum, Temple D (Building) ("Agamemnon", "Hom. Od. 9.1", "denarius")
Context: Metapontum
Type: Temple
Summary: Ionic temple situated at the north-east border of the religious sanctuary of the city.
Date: ca. 475 BC
Dimensions:
The maximum dimensions of the foundations measure ca. 17.90 m. x 41.60 m. An axial mass for the temple of 14.75 m. x 38.40 m. is proposed. The excavators suggest that the island ionic/attic foot of 29.4 cm. was the unit of measurement used throughout, resulting in overall dimensions for the temple of 50 x 130 F. The maximum width of the cella building measures ca. 8.12 m. The column height is estimated at between 5.97 m. and 6.25 m., with a lower column diameter of 67.6 cm. - 70.8 cm. Thus, the proportion of lower column diameter:column height = 9:1. The relationship of the lower column diameter to the interaxial spacing is expressed in the proportion 1:3, resulting in a distance of ca. 2.0 m. - 2.10 m., or 6 7/8 F. The three central intercolumniations were widened at the facade to 7 9/16 F.
Region: Lucania; Period: Early Classical
Architectural Order: Ionic
Plan: Very little is preserved of the temple in situ: the SW corner and parts of the southern and western foundations of the cella, and the lowest foundation block of the NW corner. However, the excavators suggest the following plan on the basis of a reconstruction of the dimensions of the foundations: the temple was peripteral, and was extremely long and narrow with the unusual number of 8 x 20 columns. The temple was pseudodipteral, with wide ptera. The cella building was very simple, consisting of a naos and elongated pronaos, with no columns in the pronaos, no antae, and neither opisthodomos nor adyton. The pronaos was not open for its entire width, but was apparently entered through a door, lending a megaron-like aspect to the cella building. There were no columns inside the cella. The cella building was aligned with the third column along the flanks of the peristasis.
Date Description:
The building period of the foundations cannot be later than ca. 475 B.C., based on ceramic evidence from the excavations. The style of the architectural moldings, for example the concave leaves of the palmettes in the frieze, accords with this date.
History:
Unlike the other major temples in the sanctuary at Metapontum, the Ionic temple had only one building phase, with the foundations, peristyle and cella built in smooth succession. The building was constructed towards the end of the first quarter of the fifth century B.C. Fragments of terracotta acroteria appear later in date, and indicate that restorations were carried out. Ceramic evidence indicates that the temple was destroyed in the third century B.C.; shortly thereafter, most of the stones were removed for reuse elsewhere, and the foundations were filled in with debris, including some of the architectural elements of the superstructure.
Other Notes:
The temple presents a number of unusual features. The combination of an architrave, molded frieze, dentils, geison and sima does not conform to the canonical Ionic system of epistyle, dentils, geison and sima prevalent at this time in Asia Minor. The elongation of the plan, and the pseudodipteral effect created by the narrow cella, at first appear to presage developments in Ionic temple architecture of the Hellenistic period, for example at the Temple of Apollo at Didyma. Features such as wide ptera and unusual groundplans containing large numbers of columns, however, are already familiar in archaic Doric temple architecture in South Italy and Sicily, for example at the Basilica at Paestum. With respect to its groundplan, the Ionic temple at Metapontum can be viewed as standing at the end of archaic temple development in South Italy, especially through the inclusion of the long, narrow cella. The appearance of the Ionic order, however, is striking and attests to the native architect's desire for architectural experimentation, combined with the love of vivid ornament characteristic of South Italian temple architecture.
Other Bibliography:
Adamesteanu 1975, 26-39; Mertens 1977b, 152-162; Mertens 1979b, 103-137; Mertens 1985, 661-663 (Wikipedia).
Ruins of the Sanctuary of Athena in the ancient Hellenistic city of Priene, spectacularly located against a rocky outcrop.
Of the Temple the terrace with five (re-erected) Ionic columns remain, surrounded by a fascinating collection of related architectural debris. It was originally built in the 4th century BC by the architect Pythios, also responsible for the (lost) great Mausoleum of Halicarnassus, one of the Seven Ancient Wonder of the World, situated some 100km south of here.