View allAll Photos Tagged pilasters
The popularity of the "Second Empire" style of architecture in the U.S. in the late 19c was an expression of Americans' widely-held desires to dissolve the U.S. and become subjects of Emperor Napleon III.
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In downtown Hannibal, Missouri, on October 30th, 2020, the former U.S. Post Office and Court House, a/k/a the Federal Building, at the northwest corner of Broadway and North 6th Street, (built 1888, designed by Mifflin E. Bell, 80002377 on the National Register of Historic Places), in the Central Park Historic District, 82000586 on the National Register of Historic Places.
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Getty Thesaurus of Geographic Names terms:
• Hannibal (7013689)
• Marion (county) (1002634)
Art & Architecture Thesaurus terms:
• columns (architectural elements) (300001571)
• courthouses (300005969)
• flagpoles (300082991)
• gable dormers (300002247)
• historic buildings (300008063)
• historic districts (300000737)
• Indiana limestone (300011321)
• mansard roofs (300002155)
• pediments (300002726)
• pilasters (300002737)
• post offices (300006036)
• Second Empire (300021279)
• towers (building divisions) (300003615)
Wikidata items:
• 30 October 2020 (Q57396955)
• 1880s in architecture (Q60996911)
• 1888 in architecture (Q2810684)
• Central Park Historic District (82000586)
• federal building (Q51183740)
• Federal Government of the United States (Q48525)
• Hannibal, MO Micropolitan Statistical Area (Q5649188)
• National Register of Historic Places (Q3719)
• October 30 (Q2950)
• October 2020 (Q55281169)
• Quincy-Hannibal, IL-MO Combined Statistical Area (Q101561398)
• Treaty of Fort Clark (Q7837052)
• Treaty of St. Louis (Q28433157)
• United States District Court for the Eastern District of Missouri (Q5420320)
• United States Post Office (Q14704508)
• United States Postal Service (Q668687)
Library of Congress Subject Headings:
• Courthouses—Missouri (sh94006504)
• Post office buildings—Missouri (sh92002932)
Union List of Artist Names IDs:
• Bell, Mifflin E. (American architect, 1846-1904) (500031499)
Finally! These are the last photos of Pocahontas! It has taken forever, it seems, to complete this series of a most enjoyable three hours in a fading Virginia town.
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
[This is a set of 7 photos] Close to the north end of Centre Street, across the street from the Town Hall are the remains of 2 of the once 27 saloons that flourished in Pocahontas, despite Tazewell County, Virginia, being a legally "dry" county. Both the Elkhorn Saloon (1883) and Silver Dollar Saloon (1894) sported partial metal front facades--the parapet showing the dates of the structures (on wood in the case of the Elkhorn and metal for the Silver Dollar), the cornice and the window crowns. My assumption is that the metal portions are Mesker products. Both saloons show subtle ornamental touches (terra cotta decoration, window crowns, a diamond pattern in the cornice, etc.) that mark the use of decoration in the most mundane of commercial structures of the time.
The top part of the Elkhorn Saloon is quite symmetrical in design and consists of a peaked metal pediment/cornice with brackets and a circular decorative motif between the brackets. Below is a section of brick then a course of what appears to be ornamental terra cotta in squares filled with a leafy pattern. This same ornamental device appears in the vertical side pilasters and below the windows. Four windows are displayed on the upper level, all 2/2 with metal crowns and wooden frames and with what seems to be stone sills. The bottom level has undergone alterations, probably in concession to modern (at the time) tastes--a mixed assortment of window shapes, two sections of glass block, a black portion that could be a material such as vitrolite, and some sort of siding in long rectangular sections. The structure had two doors, the recessed one on the right leading to the saloon proper and the door on the left leading to the second level.
The Silver Dollar (1894) has a metal pediment/cornice with two brackets and two end pieces. There are three panels, two filled with an elongated diamond shape. Below this are several courses of brick and probably terra cotta mixed. In two places the bricks are exposed, exposing building techniques. The windows are placed symmetrically in the upper level, 2/2 with wooden frames and hooded window crown. The windows extend vertically to the metal division between the two floors. The bottom level has apparently undergone remodeling at one time with a different brick pattern and type. There's one narrow glass pane and two doors, each with three horizontally oriented panes.
This structure is part of the Pocahontas Historic District, listed on National Register, added November 3, 1972 with identifying number 72001418.
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Virginia's first coalfield boom town, Pocahontas (in Tazewell County, Virginia) boasted of its prosperity with numerous metal-front stores; however, much has changed since its height of prosperity. At one time Pocahontas had 27 saloons! Two structures I was most interested have disappeared, gone perhaps 10-12 years ago. Today a sense of decay permeates the town, the remaining buildings with altered front facades at street level; however, the upper level is often intact. Centre Street runs north-south. Business structures stop at Church Street in the south. One block north is the cross street, Saint Claire Street (I'm using the spelling of the street sign). The one block of West Saint Claire is a treasure for the architecturally curious with a town hall-opera house and a bank. Continuing south for a couple of more blocks, the west side of Centre Street is relatively intact. The east side has two empty blocks where buildings have been demolished.
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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
"Bertie Crewe, 1902-4. Striking 3-storey French Baroque theatre on prominent corner site with square-plan corner turrets with slated pyramidal roofs to corner and Renfrew Street. Buff terracotta with profusion of decorative sculpted panels.
RENFIELD STREET ELEVATION: 3 3-light pilastered main bays with narrow central dividing bays. Recessed central entrance with later canopy. Set of 3 2-leaf part-glazed entrance doors. Storeys divided by cornices. Main bays with 1st floor with windows divided by floating aprons, oculi windows to top storey with segmental pediments with richly sculpted tympana. Stepped parapet to bays. Lettering 'PAVILION' over centre between 1st and 2nd storeys with flanking blue and gold mosaic panels. Large 'PAVILION' sign attached vertically to central bay.
RENFREW STREET ELEVATION: bays arranged 1-3-1. Outer bays slightly advanced with 4-stage towers with sculpted top panels to top stages with small segmental skyline pediments. Central bays with ground floor frieze with lettering 'THE PAVILION'. 1st floor with 3 windows. Central 3-light, flanking windows 4-light with blind arcade aprons. Central window flanked by sculpted pilasters, repeated above. Parapet raised to centre and pedimented.
Variety of glazing patterns. Some stained glass windows. Predominantly multi-pane over plate glass. Plate glass to oculi.
INTERIOR: fine, rich Louis XV interior scheme. Small semi-circular apsed entrance hall with decorative plasterwork ceiling and terrazzo floor with mosaic inserts including central harp motif. 2-leaf timber doors with oval glazed panels and decorative mouldings. Auditorium (damaged by flood in 1992 ' see Notes) with 2 cantilevered tiers forming circle and gallery. 4 boxes and (altered) semicircular proscenium arch. Ornately decorated plasterwork with swags, volutes, putti etc. Domed ceiling contains rare operational sliding roof panel.
Statement of Special Interest
Opened on the 29 February 1904 as the Palace of Varieties, The Pavilion is an important and outstanding example of theatre architecture by one of the most celebrated theatre achitects of the period. The terracotta street elevations with ornate sculpted panels and touches of blue and gold mosaic along with the corner towers makes this building an unusual and striking addition to Glasgow's streetscape. It is one of the country's best surviving Edwardian theatres.
A flood in March 1992 damaged the plasterwork in the auditorium although this was subsequently repaired on a like-for-like basis.
The auditorium contains a rare operational sliding roof panel to keep the air in the theatre fresh. An early centralised vacuuming system remains in place with the main apparatus surviving in the basement.
Bertie Crewe trained in Paris, as well as London, which may explain his adoption of the French Baroque style here. The theatre was constructed for the Newcastle-based Thomas Barrasford who often chose Crewe as his architect.
The Pavilion is renowned as a specialist variety theatre.
Category changed from B to A and list description revised as part of the Theatres Thematic Study 2010."
Another photo of one of my favorite Urbana buildings. The odd construction materials, unusual corner pilasters, and incised lintels are, to the best of my knowledge, unique in the region.
The pilasters and fanlights and keystones are classy. The cinema resembles a casino.
That huge F150 from model years 2015-2020 is nearly as large as a cinema!
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In downtown Beaver Dam, Wisconsin, on August 19th, 2021, the Beaver Dam Cinema (built in 1911 as the Davison Theatre; later known as the Wisconsin Theatre; expanded and remodeled in 2007) at the northeast corner of Front Street (U.S. 151 Business Route and County Road G) and Beaver Street.
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Getty Thesaurus of Geographic Names terms:
• Beaver Dam (2120707)
• Dodge (county) (1002337)
Art & Architecture Thesaurus terms:
• additions (general components) (300055458)
• architectural canopies (300375688)
• architectural ornament (300378995)
• blue (color) (300129361)
• façades (300002526)
• fanlights (300002983)
• gray (color) (300130811)
• keystones (300001183)
• light pink (300126055)
• motion picture theaters (300007135)
• pickups (trucks) (300220034)
• pilasters (300002737)
• Postmodern (300022208)
• remodeling (300135427)
Wikidata items:
• 19 August 2021 (Q69306149)
• 1910s in architecture (Q11185482)
• 1911 in architecture (Q2744797)
• 2000s in architecture (Q11186432)
• 2007 in architecture (Q2512134)
• 2010s in transport (Q97500663)
• August 19 (Q2829)
• August 2021 (Q61313033)
• Ford F-Series (thirteenth generation) (Q16993640)
• Milwaukee-Racine-Waukesha, WI Combined Statistical Area (Q110495108)
• postmodern architecture (Q595448)
• Treaty with the Winnebago (Q108203604)
• U.S. Route 151 (Q839240)
Library of Congress Subject Headings:
• Motion picture theaters—Wisconsin (sh2010008178)
By J A Carfrae, 1913-19. Scots Renaissance former school. Finely composed, detailed and sited. Approximately L-plan, 2-storey random rubble battered substructure to Holyrood Park, chamfered pilastered treatment of ground floor windows, elaborate dormerheads to 1st floor windows; gable terminates at the north end of machicolated bows richly detailed dormers and pyramid roof broached to conical, bay window south face; south frontage has set-back verandah upper floor and rich Francois 1er doorpiece.
A landmark on edge of Holyrood Park. Begun 1913, used as garrison 1917-18. Named after Col. James Clark, Chairman of Edinburgh School Board, killed in action 1915.
Carfrae was born in 1868 and educated at James Gillespie's School. He was articled to Robert Wilson, architect to the Edinburgh School Board and remained with him as assistant until February 1889, concurrently attending classes at Edinburgh School of Art. On leaving Wilson's office he moved to London as assistant to Arthur Cawston, transferring to HM Office of Works the following year. Six months later he returned to Robert Wilson's practice as principal assistant, taking over most of the design work and when Wilson died in 1901, Carfrae inherited his office and his position as architect to the Edinburgh School Board. Carfrae was regarded as one of the most brilliant architects of his generation although much of his work was constrained by standard school board formats.
To the end of the Promenade near to the High Street in Cheltenham. After leaving the House of Fraser, we stopped near the fountain, and sat on the bench to have our lunch. After this headed up the High Street.
Buildings on Clarence Street, Cheltenham, seen up Imperial Circus from the Promenade.
The Bank House at 15-21 Clarence Street, Cheltenham.
In February 2005, The Toad at The Olde Bank was renamed Que Pasa (Spanish for ‘what’s up?’). The Toad opened in April 2001. The ‘Olde Bank’ was the Cheltenham and Gloucestershire, which traded at numbers 15–17 (originally numbers 7–8) Clarence Street from the 1830s into the 1850s. The building continued to be known as ‘Bank House’ for several decades.
Grade II Listed Building
Listing Text
CHELTENHAM
SO9422SE CLARENCE STREET
630-1/13/273 (North side)
12/03/55 Nos.19 AND 21
GV II
2 shops and offices. c1825-34, shown on Merrett's Map of 1834,
but not on the Post Office Map of 1820; with c1970s ground
floor shop fronts. Brick with stucco facades and slate roof
with wrought-iron balconies.
EXTERIOR: 3 storeys with attic, 3 first-floor windows. Ground
floor has outer Egyptian pilasters surmounted by architrave,
frieze and cornice; then Doric pilasters through first and
second floors, surmounted by architrave, frieze and cornice;
above are pilasters to centre and ends, frieze, cornice and
blocking course. 6/6 sashes to first and second floors, those
to first floor have tooled architraves, those to second floor
have incised 'Greek key' type motif. 3/3 sashes to attic, all
in plain reveals and with sills. Ground floor has c1970s
glazing and glazed entrances.
INTERIOR: not inspected.
SUBSIDIARY FEATURES: balconies have double scroll motif.
HISTORICAL NOTE: George Rowe's Guide, published in 1850 but
written in 1845 indicates that these were the premises of:
No.19, the Cheltenham Examiner and the Artistic Lithographic
Dept of Mr George Rowe; No.21, W Percival, Kaleidographer and
Fancy Stationer.
(Rowe G: Illustrated Cheltenham Guide 1850: Cheltenham:
1845-1969: 44-45 (ILLUS)).
Listing NGR: SO9487222495
This text is from the original listing, and may not necessarily reflect the current setting of the building.
[This set contains 5 photos] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
In 1915, the town of Surry constructed its first bank building, the Bank of Surry, now used as the Surry Town Office. The style has been called eclectic, a nice word for inexactness. The 2-story brick structure is yellow on the front but red on the sides. On the photo showing a side facade, there appear to be 2 different kinds of brick with a clear delineation of the masonry. Could this indicate the building was built in phases, at two different times? The rear addition is obviously from a different time period.
The sides show a stepped parapet design. The symmetrical front facade is capped with the parapet but with the center part being arched. Corbelling is visible below the parapet, and a circular vent is positioned above the second story. The arch at roofline is the culmination of two pilasters that separate the structure into ornamental areas. The windows on the second floor are of two panes; the central section is tripartite. At street level the windows are arched and multi-paned with a 6/6 pattern and topped with a design of three circles, which doesn't quite match a decorative trefoil ornament. The same design appears above the arched entry with the building's name--Surry Town Office--provides a visually strong arch. The slightly recessed entry contains a double-leaf door, each portion with a long vertical glass pane.
Surry County is one of the earliest formed counties (and least populated) in Virginia, coming into existence in 1652. The town of Surry, the county seat, is very small with a 2020 population of 209 people, down from 244 in 2010.
This governmental structure is part of the Town of Surry Historic District, which was added to the National Register of Historic Places November 24, 2017 with ID #100001855. The nomination form is accessible at www.dhr.virginia.gov/wp-content/uploads/2018/10/308-5001_...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
The South Front of the Lyme Park house, designed by Giacamo Leoni and built between 1729 and 1732, reflected in the lake in the gardens.
The front is done in an Italian style (as befits the architect), with the giant pilasters that break up the bay similar to those at Chatsworth House.
The pediment is mounted by a lead figure of Neptune, a statue which was brought to Lyme by wagon from Bank Quay quarry, near Warrington - 25 miles away.
On the edge of the Peak District National Park, set amid sweeping moorland, the Lyme Park estate is made up of a spectacular country house and 1,400 acres of gardens and parkland.
The main house has been developed since the Middle Ages, passing through the hands of generations of the Legh family, with the exterior seen today built in the 1720s and the courtyard resembling the Italian Renaissance style.
The estate was granted to the Legh family by Richard II in 1398AD, with a herd of indigenous deer in the parkland often hunted by the family when they made it their main home in the lat-16th century.
The house was used as the backdrop to the scene where Elizabeth Bennett meets Darcy in the Pride and Prejudice TV series – the bit where Darcy comes out of the lake and all the women you know go all gushy – and has been maintained by the National Trust since 1946.
The gardens date from the 17th century, with the lake and house bordered by formal walled gardens, terraces and fountains.
On the edge of the Peak District National Park, set amid sweeping moorland, the Lyme Park estate is made up of a spectacular country house and 1,400 acres of gardens and parkland.
The main house has been developed since the Middle Ages, passing through the hands of generations of the Legh family, with the exterior seen today built in the 1720s and the courtyard resembling the Italian Renaissance style.
The estate was granted to the Legh family by Richard II in 1398AD, with a herd of indigenous deer in the parkland often hunted by the family when they made it their main home in the lat-16th century.
The house was used as the backdrop to the scene where Elizabeth Bennett meets Darcy in the Pride and Prejudice TV series – the bit where Darcy comes out of the lake and all the women you know go all gushy – and has been maintained by the National Trust since 1946.
The gardens date from the 17th century, with the lake and house bordered by formal walled gardens, terraces and fountains.
The Harvard Club of New York, 27 West 44th Street and 35 West 44th Street, New York, NY (Charles Follen McKim of McKim, Mead, and White: 1894 with additions 1905 and 1915)
West 45th Street elevation
42, Royal Hill, Greenwich, is an eighteenth-century house now of multi-coloured stock brick that was much rebuilt in the nineteenth century, leaving only the early eighteenth-century doorcase visible. This is made of wood, with fluted pilasters supporting an entablature and a moulded and modillioned cornice which projects at either end above the capitals. Below the architrave there is an open pediment supported by two moulded cornices on small consoles.
Pilaster from the Saqqara tomb of Horemheb. This pilaster was one of a pair, probably set up in the second courtyard of Horemheb's tomb. The relief carving shows Horemheb with his arms raised in adoration; above him is a hymn to the rising sun. The figure of Horemheb faced east, towards the dawn. On both pilasters, a royal uraeus-cobra was added to Horemheb's brow when he later became king. Limestone. (British Museum)
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
The Ballarat Synagogue at 2 Barkly Street in East Ballarat, is one of the few surviving Nineteenth Century synagogues in Victoria. Designed by architect T. B. Cameron, the Synagogue was built in 1861. Situated on the Victorian goldfields, its importance was such that its first Rabbi was Av (head) of the first recognised Australian Beth Din. The gold rush brought many Jewish people to Ballarat and the first congregation was held in 1853 and for decades the local community was the largest in the Victorian colony.
The single storey building is one of the early surviving buildings in Ballarat and is important in the streetscape and townscape of the city and in the history of the area. Architecturally the structure is an interesting example of conservative Classical design, given distinction by the architectural treatment of its facade and portico. The main facade of the brick structure was corner Tuscan pilasters supporting a parapet entablature. Paired Tuscan squared columns and pilasters support the pedimented prostyle portico and the windows are roundheaded.
The interior of the building, with features such as the ladies gallery, is in very good condition. The interior seen today is the result of extensive remodeling in 1878 including notable internal use of Victorian iron lacework panels on the balconies of the gallery and magnificent ceiling fretworks from which hang impressive crystal chandeliers. Beautiful windows with blue and red stained glass panels fill the Synagogue with light. Presiding above all is a very grand arched stained glass window created in 1884, which according to legend, is made from glass taken from a 16th Century Irish mansion.
Title
Symbols - Daytime, Cross - Chapel, Paulist Fathers' Chapel, Park Street, Brick Building, Federal Elements, Fanlight Windows, Pilasters, Signs, Future Site of the New Paulist Information Center and Chapel
Contributors
researcher: Gyorgy Kepes (American, 1906-2001)
researcher: Kevin Lynch (American, 1918-1984)
photographer: Nishan Bichajian (American, 20th century)
Date
creation date: between 1954-1959
Location
Creation location: Boston (Massachusetts, United States)
Repository: Rotch Visual Collections, Massachusetts Institute of Technology (Cambridge, Massachusetts, United States)
ID: Kepes/Lynch Collection, 72.30
Period
Modern
Materials
gelatin silver prints
Techniques
documentary photography
Type
Photograph
Copyright
(c) Massachusetts Institute of Technology
Access Statement
Creative Commons Attribution-NonCommercial 3.0
creativecommons.org/licenses/by-nc/3.0/
Identifier
KL_001795
DSpace_Handle
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
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
The Ballarat Synagogue at 2 Barkly Street in East Ballarat, is one of the few surviving Nineteenth Century synagogues in Victoria. Designed by architect T. B. Cameron, the Synagogue was built in 1861. Situated on the Victorian goldfields, its importance was such that its first Rabbi was Av (head) of the first recognised Australian Beth Din. The gold rush brought many Jewish people to Ballarat and the first congregation was held in 1853 and for decades the local community was the largest in the Victorian colony.
The single storey building is one of the early surviving buildings in Ballarat and is important in the streetscape and townscape of the city and in the history of the area. Architecturally the structure is an interesting example of conservative Classical design, given distinction by the architectural treatment of its facade and portico. The main facade of the brick structure was corner Tuscan pilasters supporting a parapet entablature. Paired Tuscan squared columns and pilasters support the pedimented prostyle portico and the windows are roundheaded.
The interior of the building, with features such as the ladies gallery, is in very good condition. The interior seen today is the result of extensive remodeling in 1878 including notable internal use of Victorian iron lacework panels on the balconies of the gallery and magnificent ceiling fretworks from which hang impressive crystal chandeliers. Beautiful windows with blue and red stained glass panels fill the Synagogue with light. Presiding above all is a very grand arched stained glass window created in 1884, which according to legend, is made from glass taken from a 16th Century Irish mansion.
Restoration House, Crow Lane, Rochester, is largely from the late sixteenth-century and the mid-seventeenth century. The house was conveyed to Henry Clerke, 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 (as seen here)
Church of St Nicholas
Monument to John †1607 and Margaret Pell. Alabaster tomb chest, incised ledger stone. Now north chancel, originally at east end of south aisle.
The main sides of the tomb chest are divided by wide faintly coloured pilasters, which support a ledger stone, incised with images of John Pell and his wife Margaret (née Overend). This simple device allows them to be represented standing full length, rather than kneeling, both wearing ruffs. He wears a full gown, perhaps that of grogram, a mixture of silk, mohair and wool, which he bequeathed to one of his daughters. Margaret is shown in a comparatively simple dress and fashionable attifet with a cloak at her back. As requested in his will their names are recorded in the inscription at their feet records, as are their six sons and three daughters. These are shown kneeling on the base, the colour has disappeared with the dates of their birth, demanded in John Pell’s will, a couple of which Blomefield recorded, noting that the others had vanished. The side showing their daughters has now been pushed close to the wall. The family coat of arms is on the north of sarcophagus, and a long inscription on death at the other. Margaret outlived John Pell, who made provision for her in his will, including requiring three of his sons to pay her annuities.
John Pell, born c. 1527, came from a family of successful merchants and had joined Lynn Town Council in 1550, was Mayor in 1560 and in 1571 was chosen to represent Lynn in Parliament. He had resigned in 1578. His father, another John †1555, was listed as a successful merchant in King’s Lynn with a number of properties in Dersingham. His son continued to live in the village where he extended the family properties after he had married Margaret Overend, a shipping heiress. At the time of his death he owned six boats exporting wool to the continent.
N. M. Fuidge, in The History of Parliament: the House of Commons 1558-1603, ed. P.W. Hasler, 1981 Ref Volumes: 1558-1603; Francis Blomefield, 'Freebridge Hundred and Half: Dersingham', in An Essay Towards A Topographical History of the County of Norfolk: Volume 8 (London, 1808), pp. 391-403; Elisabeth Fiddick, Dersingham Hall, www.norfolk-on-line.co.uk/dersingham accessed 14/06/2015
detail of the top
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
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
Possibly by James Craig, 1775. Showing the rear elevation of a 4-storey basement and attic, classical tenement. Droved cream sandstone ashlar with long and short quoins, eaves cornice. Roman Doric pilastered doorpieces. To the rear: rubble; 7-bay, outer bays bowed and 5-storey. Rubble gables with windows at centre. Timber sash and case 12-pane windows. Ashlar coped skews; rebuilt corniced ashlar stacks; grey slates; hoppers dated 1995.
These are the only survivors of this development, which was laid out by James Craig in 1773 for solicitor Walter Ferguson WS. The rest of the development was demolished in 1965 to make way for the St. James’ Centre/New St. Andrew’s House development which is currently being demolished. The view from these windows has certainly changed over the years!
James Craig was born in Edinburgh in 1739. From 1748 he was a pupil at George Watson’s Hospital. In 1755 he was articled to Patrick Jamieson, a mason in Edinburgh and deacon of the Incorporation of Wrights and Masons.
In 1763 Craig was the winner of the competition for laying out the New Town of Edinburgh. Seven entries were received and Craig’s judged to be the best. A main reason for its success was the plan made good use of the contours of the site. However it was not considered without fault by the assessors including John Adam. Changes included the original central square with streets radiating out at the corners to the perimeter of the houses being replaced by squares at each end of the New Town, rather than awkward triangular plots as Craig’s original plan had. Craig had no hand in the design of the elevations in the New Town. Initially buildings simply had to conform to standard heights and building lines.
Craig was awarded a gold medal and freedom of the city. In October 1767 Craig travelled to London and presented King George III with a copy of the revised plan, which is now lodged in the British Library.
Craig never achieved any great success as an architect and never had an extensive practice. After 1781 he was always borrowing money and he died in debt (his debts amounted to about £250). Craig died in West Bow, Edinburgh in 1795.
The Andrew W. Mellon Auditorium, 1301 Constitution Avenue, NW, Federal Triangle, Washington, D.C.(Arthur Brown, Jr. : 1928–1934).
"Columbia" tympanum sculpture by Edgar Walter. It was carved by the Edward Ardolino company.
Also known as the Treasury Department Auditorium and the Departmental Auditorium.
Mathematics Hall a.k.a. Engineering Hall, Columbia University, New York, New York (William Rutherford Mead of McKim, Mead, and White 1896 - 1897)
Het Landshuis 1632
Gewestelijke hoofdstad
Tijd van regenten en vorsten
Wat tegenwoordig het Landshuis heet, was van oorsprong een middeleeuws gebouw. Het pand bestond al voor 1337. Na aankoop door de stad in 1364 deed het pand dienst als stadstaveerne, De Brunenberg genaamd. Hier ontving het stadsbestuur zijn gasten. In 1632 werd de taveerne geheel verbouwd tot Landshuis. Land is een oude benaming voor gewest; vandaar deze naam voor het pand. Er kwam een rijk versierde bakstenen gevel in renaissancestijl voor het oude gebouw. Opvallend in deze stijl zijn de horizontale waterlijsten (uitstekende lijsten om regenwater te weren) en de verticale pilasters (licht vooruitspringende platte zuiltjes).
De Staten van Overijssel
De Staten van Overijssel, het hoogste bestuursorgaan van het gewest, bestonden uit vertegenwoordigers van de ridderschap en besturen van de steden Deventer, Kampen en Zwolle. Gereformeerde edelen in het bezit van een Overijsselse havezate (ridderlijk goed of kasteel) hadden het recht om op persoonlijke titel zitting te nemen in de Staten en vertegenwoordigden daar als ridderschap de adel en het platteland. Het aantal edelen was veel groter dan het aantal vertegenwoordigers uit de steden. De magistraten van Deventer, Kampen en Zwolle zonden elk burgemeesters naar de Staten. Deze statenleden waren, zij het indirect, gekozen. Zij hadden daardoor een zeker publiek mandaat.
De Staten werden traditioneel voorgezeten door de drost van Salland. Besluiten werden met algemene of met meerderheid van stemmen genomen. De vergaderingen werden bij toerbeurt in Deventer, Kampen en Zwolle gehouden, "te hooi en te gras", dat wil zeggen in het najaar en het voorjaar. Deze bijeenkomsten duurden 1 week tot 14 dagen. Het college van Gedeputeerde Staten bestond uit zes leden: drie uit de ridderschap en drie afgevaardigden van de steden. De gedeputeerden in Overijssel en de gedeputeerden van Overijssel in Den Haag waren meestal dezelfde personen.
Het Landshuis
Toen het Landshuis in 1632 gereed was, werden hier voortaan de vergaderingen van Gedeputeerde Staten gehouden, terwijl vanaf 1654 de voltallige Staten vergaderden in het veel ruimere stadhuis, wanneer Deventer aan de beurt was. De commissies uit de Staten gebruikten het Landshuis als provinciale griffie, waar ambtenaren ter beschikking stonden om provinciale zaken te behartigen. Ook werd er de kist bewaard die de Overijsselse privileges uit de landsheerlijke periode bevatte.
Na de Franse tijd werd Zwolle hoofdstad van de provincie Overijssel en werd het provinciaal bestuur geheel anders ingericht. De functie van het Landshuis kwam hiermee te vervallen. Onder meer het gymnasium vond in het pand tijdelijk onderdak. Daarna was het ruim een eeuw politiebureau, totdat in de jaren tachtig van de vorige eeuw het gebouw deel ging uitmaken van het stadhuis.
Found within the Jackson Avenue Warehouse District in Knoxville, Tennessee which is on the National Register of Historic Places #73001802 and also part of the Southern Terminal and Warehouse Historic District also on the NRHP #85002909.
A closer look at the dome on the the Fourth Onondaga County Courthouse. The ribbed dome is surmounted by a cupola and is anchored by four small domed towers thus forming a square for the circle of the larger dome. The rusticated base , conveying a sense of solidity, a combination of round-arched and rectangular windows, some covered with pediments, and pilasters framing window bays are features used in Renaissance architecture. The Fourth County Courthouse was designed by Archimedes Russell and Melvin King in the Beaux Arts style. The steel frame structure was faced with Indiana buff limestone. Located at 401 Montgomery Street, at Columbus Circle, in Syracuse, NY. (42)
9 Clifford Street, Westminster, was built by Benjamin Timbrell between 1719 and 1721. Timbrell, who lived at 12 Upper Grosvenor Street around 1728, was also responsible for 8 and 10 Charles Street; 52 Grosvenor Street; 17 and 29-39 Hill Street; and 9-11 St James's Street. The house is four storeys high with basement and attic. It was gutted by fire in 1988 and the E.H. listing document does not correspond to the present condition of the building since little of the 'fine interior' survives. The house is red brick, largely refaced, with a brick plat-band at first-floor level and a stone cornice at third-floor level. The centrally-positioned stone doorcase has Ionic demi-columns and pilasters, and an entablature with a pulvinated frieze carrying a pediment.
Palais "Equitable"
(Other pictures you can see by clicking on the link at the end of page!)
Image: The granite façade of the "Palais Equitable". The base from Czech "hornblende granite" (granodiorite), superstructure: reddish granite from Lower Austria, pilasters and columns: "Rotschwedischer (red coarse-grained) granite".
© Verlag Christian Brandstätter - Alice Schumacher
"Stock-im-Eisen-Platz 3" (corner Seilergasse/Kärntnerstraße): Architect: Andreas Streit (1890-91). The building was erected for a New York Insurance Company ("Equitable") - an explanation for the U.S. eagle (bronze) on the roof. At the corner to Kärntnerstraße is situated the famouse "Stock im Eisen" (literally; stick/pole in iron).
The Palais "Equitable" is the only building in Vienna with a thick granite wall in Verblendmauertechnik (veneer wall technique). Base and portal consist of granodiorite, the so-called "Cistec granite", from Petersburg-Jeschitz at Pilsen, the remaining parts of the granite facade from Limberg in Maissau in Lower Austria. The gray-pink "Maissauer granite" is more fine-grained and plagioklasreich (rich in plagioklas). It comes from the Moravicum, one of the oldest units of the Bohemian Massif in Austria (Ordovician, about 450 million years).
The dark stripes under the cornice to the first storey and the portal superstructure consist of South Tyrolean "Pechstein porphyry" from Castelrotto. This dark rhyolite (quartz porphyry), which consists partly of shiny black obsidian (volcanic glass), belongs to the "Bronze quartz porphyry", which owes its existence to massive volcanic eruptions in the Permian (280 million years ago). The silica-rich rhyolite is similar in chemical composition to the plutonic granite. The massive columns and pilasters in the 2nd and 3rd floor are made of a red coarse-grained granite (presumably "Rotschwedischer granite - see above").
The wall paneling in the entrance hall and vestibule consist of Carrara marble ("Pavonazetto"), red Adnet lime, light "Unterberger marble", various colorful limestone conglomerates and breccias. The pilasters are of full green serpentinite. In the floor are red Adnet limestones, light "Untersberger", red-violet Kalkbrekzie, yellow "Giallo di Siena"as well as serpentinite artfully laid.
The walls of the stairwell, then again, are extensively coated with dark veined, white Carrara marbe of the type of "Pavonazetto". For pilasters as well as for door and window jambs the bright "Unterberger marble" ("marble trout") was inserted. Similarly, also for balustrades, including bright coral limestone breccia for its baluster. The stairs and the various platform - and intermediate platform areas consist of Sterzinger marble.
© Verlag Christian Brandstätter - Alice Schumacher © Verlag Christian Brandstätter - Alice Schumacher
Image: The base of the "Stock im Eisen" is from Czech "hornblende granite" (granodiorite). For the modern framing on the floor was used the South African dark green pyroxene-granite "Verde Fontaine" and the fine-grained, dark red Swedish alkali granite "Tranas". Main surface of the road : gray Upper Austrian granite slabs.
© Verlag Christian Brandstätter - Alice Schumacher picture: vestibule in the "Palais Equitable" with a detail of the natural stone inlay on the floor: red Adnet limestones, brighter "Untersberger marble", red-violet Kalkbrekzie (lime brekzie), yellow lime "Giallo di Siena" and serpentinite.
© Verlag Christian Brandstätter - Alice Schumacher
Thirty-eight monolithic, supporting stone pillars decorate the staircase. Four of them are of green serpentinit brekzie (ground floor), two more on the upper floor of bright, fossil-rich , grobblockiger (coarse-grained) coral limestone breccia. For the remaining 32 items have been used different types of granite: "Rotschwedischer" granite, the green-red Epidotgranit ("Granite Rouge Antique") from Corsica (France), the coarse-grained "red granite" from Liberec (Czech Republic) and the gray granite of Dornach (Upper Austria ).
The visit of the vestibule and the inner courtyard is recommended, but only on weekdays possible.
Date and location unknown. Two gentlemen with abundant facial hair drive an early tiller-steered automobile in front of a classic New England farmhouse.
Late 18th century, High Street front refaced mid 19th. 4-storey 3 window painted stuccoed front to High Street. Provincial Renaissance style. Superimposed pilasters architraved windows with segmental pediments at 1st, triangular pediments at 2nd, main cornice; Gibbsian door of circa 1770 and 1 old pilastered shop front to Watergate, slated roof with single box dormer.
Built in 1732 by the Recoleto friars, its history is depicted on the majolica at its entrance. Adjacent to the Recoleta cemetery, 19th century colonial architecture predominates throughout. Five pinnacles crown the pilasters of the facade; a square tower and bell-shaped dome uphold the cross; inside, the central nave and two lateral chapels exalt a baroque-Germanic altar and the image of Christ firmly fixed. It was declared a National Historic Monument in 1942 in recognition of its antiquity and prominence.
Palais "Equitable"
(Other pictures you can see by clicking on the link at the end of page!)
Image: The granite façade of the "Palais Equitable". The base from Czech "hornblende granite" (granodiorite), superstructure: reddish granite from Lower Austria, pilasters and columns: "Rotschwedischer (red coarse-grained) granite".
© Verlag Christian Brandstätter - Alice Schumacher
"Stock-im-Eisen-Platz 3" (corner Seilergasse/Kärntnerstraße): Architect: Andreas Streit (1890-91). The building was erected for a New York Insurance Company ("Equitable") - an explanation for the U.S. eagle (bronze) on the roof. At the corner to Kärntnerstraße is situated the famouse "Stock im Eisen" (literally; stick/pole in iron).
The Palais "Equitable" is the only building in Vienna with a thick granite wall in Verblendmauertechnik (veneer wall technique). Base and portal consist of granodiorite, the so-called "Cistec granite", from Petersburg-Jeschitz at Pilsen, the remaining parts of the granite facade from Limberg in Maissau in Lower Austria. The gray-pink "Maissauer granite" is more fine-grained and plagioklasreich (rich in plagioklas). It comes from the Moravicum, one of the oldest units of the Bohemian Massif in Austria (Ordovician, about 450 million years).
The dark stripes under the cornice to the first storey and the portal superstructure consist of South Tyrolean "Pechstein porphyry" from Castelrotto. This dark rhyolite (quartz porphyry), which consists partly of shiny black obsidian (volcanic glass), belongs to the "Bronze quartz porphyry", which owes its existence to massive volcanic eruptions in the Permian (280 million years ago). The silica-rich rhyolite is similar in chemical composition to the plutonic granite. The massive columns and pilasters in the 2nd and 3rd floor are made of a red coarse-grained granite (presumably "Rotschwedischer granite - see above").
The wall paneling in the entrance hall and vestibule consist of Carrara marble ("Pavonazetto"), red Adnet lime, light "Unterberger marble", various colorful limestone conglomerates and breccias. The pilasters are of full green serpentinite. In the floor are red Adnet limestones, light "Untersberger", red-violet Kalkbrekzie, yellow "Giallo di Siena"as well as serpentinite artfully laid.
The walls of the stairwell, then again, are extensively coated with dark veined, white Carrara marbe of the type of "Pavonazetto". For pilasters as well as for door and window jambs the bright "Unterberger marble" ("marble trout") was inserted. Similarly, also for balustrades, including bright coral limestone breccia for its baluster. The stairs and the various platform - and intermediate platform areas consist of Sterzinger marble.
© Verlag Christian Brandstätter - Alice Schumacher © Verlag Christian Brandstätter - Alice Schumacher
Image: The base of the "Stock im Eisen" is from Czech "hornblende granite" (granodiorite). For the modern framing on the floor was used the South African dark green pyroxene-granite "Verde Fontaine" and the fine-grained, dark red Swedish alkali granite "Tranas". Main surface of the road : gray Upper Austrian granite slabs.
© Verlag Christian Brandstätter - Alice Schumacher picture: vestibule in the "Palais Equitable" with a detail of the natural stone inlay on the floor: red Adnet limestones, brighter "Untersberger marble", red-violet Kalkbrekzie (lime brekzie), yellow lime "Giallo di Siena" and serpentinite.
© Verlag Christian Brandstätter - Alice Schumacher
Thirty-eight monolithic, supporting stone pillars decorate the staircase. Four of them are of green serpentinit brekzie (ground floor), two more on the upper floor of bright, fossil-rich , grobblockiger (coarse-grained) coral limestone breccia. For the remaining 32 items have been used different types of granite: "Rotschwedischer" granite, the green-red Epidotgranit ("Granite Rouge Antique") from Corsica (France), the coarse-grained "red granite" from Liberec (Czech Republic) and the gray granite of Dornach (Upper Austria ).
The visit of the vestibule and the inner courtyard is recommended, but only on weekdays possible.
Built c. 1845 at nos. 29-33 Walton Street.
"This early block, with its counterpart at the other end at Mill Street, sets the standard for Walton Street's early construction. It is a brick commercial building with residential and/or storage space above. The corner is rounded to Queen and Walton Streets, and the block stands three storeys high in two units facing Walton Street.
The roof is a low-pitched gable, parallel to the streets and forming a hip at the corner. A pilastered front of Greek Revival style is topped by a heavy wooden frieze and cornice. The frieze is pierced by stomachers, and the soffit contains mutules and guttae, characteristic of Greek Revival. There are six bays to the Walton Street facade, including one on the rounded corner, and six bays to the Queen Street facade. The windows on the second and third storeys are headed by a plain lintel and supported by lugsills on the third storey and a continuous sill, acting as a string course, on the second storey.
There has been considerable alteration to the ground floor, with infilling to create a banking establishment around 1870. Later changes to the bank front are seen in photographs from the Cal Clayton and Tom Long collections." - info from Heritage Port Hope.
"The Walton Street Heritage Conservation District is located in the core of downtown Port Hope's commercial area along Walton Street, between Pine Street to the west and Mill Street to the east. The main thoroughfare is lined with three and four-storey 19th century commercial buildings, broken by historic laneways running north and south. The Ganaraska River intersects with Walton Street at the eastern edge of the Heritage Conservation District.
The Walton Street Heritage Conservation District is one of the best-preserved and most complete 19th century commercial streetscapes in Southern Ontario. Built primarily between 1845 and 1870 alongside the Ganaraska River, the Walton Street Heritage Conservation District developed during a period of significant growth and prosperity that saw the development of the harbour, Grand Trunk Railway and viaduct, and Midland rail lines and roundhouse constructed. The subsequent growth of local industry saw the commercial buildings along Walton Street develop into substantial brick three and four-storey blocks, often replacing the wood frame buildings which had been destroyed by fire or flood. The execution of this formal main street within a third of a century is particularly noteworthy.
The Walton Street Heritage Conservation District also retains a 19th century residential component, with a range of styles that includes modest frame cottages, brick mid-century terrace housing and Queen Anne. Located to the west of the commercial core, these residences complete the picture of 19th century life in an early urban centre, while providing a transitional mixed use for the current neighbourhood. At the west end of the Heritage Conservation District is St. Paul's Presbyterian Church, a significant landmark built late in the development of the downtown core in 1906.
The architectural value of the Walton Street Heritage Conservation District is illustrated in the various architectural styles of the Walton Street storefronts that have maintained a similar scale, site plan and compatible setbacks. The subtle variations of the Neo-Classical, Italianate and late Victorian styles exist in harmony due to their shared cornice lines, continuous fenestration patterns on the upper storeys, and balanced storefronts. The 19th century residences, with their variations in style and building materials contribute to the overall quality of this well-preserved community.
The Walton Street Heritage Conservation District lies at the mouth of the Ganaraska River on the shores of Lake Ontario. The early community harnessed the power of the river for industry, as the harbour provided a gateway to the shipping lanes of the Great Lakes. The village was situated on the Toronto-Kingston-Montreal land route, and subsequently became a hub for the railways. The substantial brick buildings on the commercial thoroughfare were constructed in co-ordinated block designs within a short period of time. The result was a continuous and harmonious stretch of commercial buildings transitioning into residences at the west. The side streets that emanate from Walton in T-junctions, as roads to the north and south, are staggered along the streetscape to avoid traffic congestions and provide continuity to the streetscape." - info from Historic Places.
"Port Hope is a municipality in Southern Ontario, Canada, approximately 109 km (68 mi) east of Toronto and about 159 km (99 mi) west of Kingston. It is located at the mouth of the Ganaraska River on the north shore of Lake Ontario, in the west end of Northumberland County. The private Trinity College School opened here in 1868.
The Cayuga people, one of the Six Nations of the Iroquois Confederacy, migrated as United Empire Loyalists to the Port Hope area from New York state in 1779. They had been forced from their ancestral homeland in the Finger Lakes region, south of the Great Lakes, after having fought for King George III as Loyalists during the American Revolution. Great Britain had ceded their lands, along with all other territory in the Thirteen Colonies east of the Mississippi River, after the United States won independence.
In 1793, other Loyalists from the northern colonies became the first permanent settlers of European heritage in Port Hope, as the Crown granted them land as compensation for being forced to leave the colonies (much of their property was confiscated by rebel governments) and as payment for military service. The new colonists called the settlement Smith's Creek after a former fur trader. They developed mills and a town plot by the turn of the century.
After the War of 1812, the Crown tried to recruit more British settlers, and townspeople wanted a new name. After a brief fling with the name Toronto, the village was renamed in 1817 as Port Hope, after the Township of Hope of which it was a part. That was the namesake of Colonel Henry Hope, lieutenant governor of the Province of Quebec. The post office dates from 1820. In 1834 Port Hope was incorporated as a town.
Relatively slow growth from 1881 to 1951 resulted in much of the town's 19th century architecture surviving. In the early 21st century, Port Hope's downtown is celebrated as the best-preserved 19th-century streetscape in the province of Ontario. The town's local chapter of the Architectural Conservancy of Ontario and the Heritage Port Hope Advisory Committee are very active and advise on the restoration and preservation of architecturally or historically significant buildings.
With over 270 heritage-designated buildings throughout the municipality, Port Hope has a higher per capita rate of preservation than any other town or city in Canada. Downtown businesses are regulated by the municipality to maintain the town's unique character. This special character makes Port Hope a destination for heritage tourism and people interested in architecture." - info from Wikipedia.
Late June to early July, 2024 I did my 4th major cycling tour. I cycled from Ottawa to London, Ontario on a convoluted route that passed by Niagara Falls. during this journey I cycled 1,876.26 km and took 21,413 photos. As with my other tours a major focus was old architecture.
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La fachada de este templo es única en Galicia por el ajedrezado de los sillares, ya que alternan el granito y la pizarra. Presenta también cuatro enormes columnas y dos pilastras rematadas por capiteles corintios que se elevan hasta la cornisa superior. Originalmente contaba con dos campanarios pero ya hace muchos años perdió uno de ellos.
The facade of this temple is unique in Galicia by the checkerboard of blocks alternating granite and slate. It also features four huge columns and two pilasters topped with Corinthian capitals that rise to the top ledge. Originally had two bell towers but one of them was lost many years ago.
Classical engaged columns, pilasters and modillions at the roofline dominate this section of the facade of the Beaux Arts Michigan Central Train Station. Looming in the background is part of the sixteen-story office building attached at the rear.
The home's columns and pilasters have been replaced; in 1969, the volutes projected from the capitals at a 45-degree angle. The vinyl sheathing covers a full entablature, with architrave, frieze, and cornice.
The Ballarat Synagogue at 2 Barkly Street in East Ballarat, is one of the few surviving Nineteenth Century synagogues in Victoria. Designed by architect T. B. Cameron, the Synagogue was built in 1861. Situated on the Victorian goldfields, its importance was such that its first Rabbi was Av (head) of the first recognised Australian Beth Din. The gold rush brought many Jewish people to Ballarat and the first congregation was held in 1853 and for decades the local community was the largest in the Victorian colony.
The single storey building is one of the early surviving buildings in Ballarat and is important in the streetscape and townscape of the city and in the history of the area. Architecturally the structure is an interesting example of conservative Classical design, given distinction by the architectural treatment of its facade and portico. The main facade of the brick structure was corner Tuscan pilasters supporting a parapet entablature. Paired Tuscan squared columns and pilasters support the pedimented prostyle portico and the windows are roundheaded.
The interior of the building, with features such as the ladies gallery, is in very good condition. The interior seen today is the result of extensive remodeling in 1878 including notable internal use of Victorian iron lacework panels on the balconies of the gallery and magnificent ceiling fretworks from which hang impressive crystal chandeliers. Beautiful windows with blue and red stained glass panels fill the Synagogue with light. Presiding above all is a very grand arched stained glass window created in 1884, which according to legend, is made from glass taken from a 16th Century Irish mansion.
The Ballarat Synagogue at 2 Barkly Street in East Ballarat, is one of the few surviving Nineteenth Century synagogues in Victoria. Designed by architect T. B. Cameron, the Synagogue was built in 1861. Situated on the Victorian goldfields, its importance was such that its first Rabbi was Av (head) of the first recognised Australian Beth Din. The gold rush brought many Jewish people to Ballarat and the first congregation was held in 1853 and for decades the local community was the largest in the Victorian colony.
The single storey building is one of the early surviving buildings in Ballarat and is important in the streetscape and townscape of the city and in the history of the area. Architecturally the structure is an interesting example of conservative Classical design, given distinction by the architectural treatment of its facade and portico. The main facade of the brick structure was corner Tuscan pilasters supporting a parapet entablature. Paired Tuscan squared columns and pilasters support the pedimented prostyle portico and the windows are roundheaded.
The interior of the building, with features such as the ladies gallery, is in very good condition. The interior seen today is the result of extensive remodeling in 1878 including notable internal use of Victorian iron lacework panels on the balconies of the gallery and magnificent ceiling fretworks from which hang impressive crystal chandeliers. Beautiful windows with blue and red stained glass panels fill the Synagogue with light. Presiding above all is a very grand arched stained glass window created in 1884, which according to legend, is made from glass taken from a 16th Century Irish mansion.