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Inside is a larger-than-life-size Coade stone statue of General Stringer Lawrence dressed as a Roman general; a copy of the marble statue of him by Peter Scheemakers (1691–1781). [ 58 ] [ 59 ] 50°39′51″N 3°35′34″W / 50.66410°N 3.59273°W / 50.66410; -3.59273 ( Haldon Belvedere
Example of a compound pier in the maha mandapa of the Vitthala Temple in Hampi, south India.. Compound pier or cluster pier is the architectural term given to a clustered column or pier which consists of a centre mass or newel, to which engaged or semi-detached shafts have been attached, in order to perform (or to suggest the performance of) certain definite structural objects, such as to ...
The same term identifies the technique for producing columns, sculptures, and other architectural elements that resemble inlays in marble. [1] The scagliola technique came into fashion in 17th-century [ 2 ] Tuscany as an effective substitute for costly marble inlays, the pietra dura works created for the Medici family in Florence .
Illustration to Serlio, rusticated doorway of the type now called a Gibbs surround, 1537. Although rustication is known from a few buildings of Greek and Roman antiquity, for example Rome's Porta Maggiore, the method first became popular during the Renaissance, when the stone work of lower floors and sometimes entire facades of buildings were finished in this manner. [4]
The term column applies especially to a large round support (the shaft of the column) with a capital and a base or pedestal, [1] which is made of stone, or appearing to be so. A small wooden or metal support is typically called a post.
A structural piece of stone, wood or metal jutting from a wall to carry a superincumbent weight. A corbie gable from Zaltbommel Corbiesteps A series of steps along the slopes of a gable. [17] Also called crow-steps. A gable featuring corbiesteps is known as a corbie gable, crow-step gable, or stepped gable. [18] Corinthian order
The large columns at Persepolis have as many as 40 or 48 flutes, with smaller columns elsewhere 32; the width of a flute is kept fairly constant, so the number of flutes increases with the girth of the column, in contrast to the Greek practice of keeping the number of flutes on a column constant and varying the width of the flute. [15]
The shaft is wider at the bottom than at the top, because its entasis, beginning a third of the way up, imperceptibly makes the column slightly more slender at the top, although some Doric columns, especially early Greek ones, are visibly "flared", with straight profiles that narrow going up the shaft.
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