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The credenza desk is sometimes flat, like a pedestal desk, but more often than not it has a stack of shelves, small drawers and other nooks above its main working surface. The sum of these overhead amenities is usually called a hutch. Hence, the credenza desk is often called a "credenza with hutch".
1950s-style credenza 15th- or 16th-century Italian credenza Modern built-in or fitted credenza. A credenza is a dining room sideboard or display cabinet, [1] [2] usually made of burnished and polished wood and decorated with marquetry. The top would often be made of marble, or another decorative liquid- and heat-resistant stone.
In the Eucharist of the Anglican Communion the ritual regarding the use of the credence table varies from parish to parish and diocese to diocese. In some parishes, (typically those identifying as Anglo-Catholic) the ritual is quite elaborate, with an army of servers, a sub-deacon and deacon all taking part.
A prime example of St. Louis Colonial Revival is located at 47 Portland Place. Much of St. Louis' working-class housing in the 1920s and 1930s were bungalows, which appear throughout south St. Louis. At the same time, the central corridor extending west from downtown saw an increase in low-rise and high-rise apartment buildings.
It is therefore generally of a long and tall shape to fit the space. It may be as a hanging mirror or as mirrored glass affixed flush to the pier, in which case it is sometimes of the same shape and design as the windows themselves. This was a common decorating feature in the reception rooms of Neoclassical 18th-century houses.
Reedy's Mirror was a literary journal in St. Louis, Missouri in the fin de siècle era. [1] It billed itself "The Mid-West Weekly". [2]Contributors included Edna St. Vincent Millay, [3] Robert Frost, Carl Sandburg, [4] Ezra Pound, Vachel Lindsay, [1] Harris Merton Lyon, [5] Sara Teasdale, [6] Albert Bloch [7] and Theodore Dreiser.
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