DECORATIVE CURTAIN FINIALS. DECORATIVE CURTAIN
DECORATIVE CURTAIN FINIALS. GOTHIC ROOM DECOR.
- Serving to make something look more attractive; ornamental
- Relating to decoration
- cosmetic: serving an esthetic rather than a useful purpose; "cosmetic fenders on cars"; "the buildings were utilitarian rather than decorative"
- (decorativeness) an appearance that serves to decorate and make something more attractive
- Conceal or screen with a curtain
- hanging cloth used as a blind (especially for a window)
- provide with drapery; "curtain the bedrooms"
- (Finial (typography)) In typography, a stroke can end in a number of ways. Examples include: * The Serif, including: ** The regular serif ** The bracketed serif ** The half-serif * The terminal, which is any stroke that does not end in a Serif ** The finial, a tapered or curved end ** The swash,
- (finial) an ornament at the top of a spire or gable; usually a foliated fleur-de-lis
- The finial is an architectural device, typically carved in stone and employed decoratively to emphasize the apex of a gable or any of various distinctive ornaments at the top, end, or corner of a building or structure.
- A distinctive ornament at the apex of a roof, pinnacle, canopy, or similar structure in a building
- An ornament at the top, end, or corner of an object
Bronze Torch Finial from Destination Lighting
Torch finial for table lamps. Offering unique collections from a consortium of designers, Design Classics features more than 1,300 elegantly styled yet affordable priced items; many of which are exclusive, signature designs. As a direct importer, the company provides the most competitive pricing without compromising quality or innovation. Hallmarks of Design Classic products include Energy Star-rated fixtures and the patented Clever Lever SwitchTM. Design Classics is an exclusive line of Destination Lighting. DL # 200955.
Civic Center, Manhattan, New York City, New York, United States
The eleven-story Potter Building was commissioned by Orlando B. Potter, a prominent figure in New York politics with prime commercial real estate holdings in Manhattan, and constructed in 1883-86 to the design ofN.G. Starkweather, an architect who had formerly practiced in Baltimore and Washington, D.C. Built to replace Potter's World Building, destroyed by fire in January 1882, the Potter Building had the most advanced fireproofing then available. With its vertically-expressed design executed in red brick and brownstone-colored terra cotta above a cast-iron-clad base, and picturesque, flamboyant fusion of Queen Anne, neo-Grec, Renaissance Revival, and Colonial Revival motifs, the Potter Building was distinguished stylistically from most downtown buildings.
Several aspects of the Potter Building make it today one of New York's most significant surviving tall office buildings of the period prior to the full development of the skyscraper. Its brickwork is among the handsomest in New York City. An early building to employ extensive exterior architectural terra cotta, it is a rare survivor of that period of development of terra cotta in New York. The highly sculpted terra cotta, produced by the Boston Terra Cotta Co., was employed in a notable "constructive" manner in the loadbearing walls.
The Potter Building is also an important surviving example of a New York office building with interior framing mostly of iron, as well as one of the earliest surviving examples of an office building having a C-shaped plan with a major light court facing the street. Its significance is enhanced by the fact that its original design is nearly intact (except for alterations to the commercial base and light court), and its visibility is heightened by its prominent location facing City Hall Park and by its three fully articulated facades.
Orlando B. Potter
Orlando Bronson Potter commissioned the Potter Building in 1882. A Massachusetts lawyer, Potter (1823-1894) moved to New York City in 1853 to assist in the development of a sewing machine business; he was president of the Grover & Baker Sewing Machine Co. until 1876. A prominent figure in New York Democratic politics, he achieved recognition by developing a plan for a national banking system and currency that was adopted by Congress in 1863, served as a U.S. Representative in 1883-85, and was a member of the Rapid Transit Commission in 1890-94.
Potter became extremely wealthy, due largely to his commercial real estate holdings in Manhattan (worth an estimated six million dollars at his death) upon which he concentrated after 1876. Besides purchasing existing structures, Potter commissioned a number of notable buildings, among them: 444 Lafayette Street (1875-76, Griffith Thomas); 746-750 Broadway (1881-83, Starkweather & Gibbs); Potter Building (1883-86, N.G. Starkweather), 35-38 Park Row; 808 Broadway (1888, Renwick, Aspinwall & Russell), adjacent to Grace Church; and 4-8 Astor Place (1890, Francis H. Kimball). In 1886, Potter founded the New York Architectural Terra Cotta Co. with his son-in-law Walter Geer. At the time of his sudden death in January 1894, Potter was thought to have been the wealthiest man in New York City to have died intestate.
The Potter Building was designed by Norris Garshom Starkweather. Born in Vermont the son of a farmer-carpenter, N.G. Starkweather (18181885) was apprenticed to a builder in 1830 and fifteen years later became a contractor on his own in Massachusetts. By the mid-1840s he had established an architectural practice, moving by the mid-1850s to Philadelphia where he specialized in church designs.
The construction of the Gothic Revival style First Presbyterian Church (1854-59; spire completed 1874 by Edmund G. Lind), Baltimore, Starkweather's finest church, was apparently the reason for his relocation to Baltimore in 1856. The 273-foot spire of the church, built of masonry, necessitated "the most massive and scientifically arranged iron framework ever done in this country, or in any other, to our knowledge," according to a contemporary account.5 Achieving some renown for his ecclesiastical and institutional commissions in the Gothic Revival, Italianate, and Romanesque Revival styles, Starkweather also designed some of the most notable Italianate style villas in Maryland and Virginia.6 By 1860 he opened an office in Washington, D.C., and after the Civil War became the partner of Thomas M. Plowman in the architectural and engineering firm of Starkweather & Plowman (1868-71).
Starkweather continued to be listed in Washington directories until 1881, though nothing is known of his career during the period following the Panic of 1873. His letterhead in 1877 read "Architect, Engineer, and Superintendent, All kinds of House Decorations Promptly Attended to."
Baltimore architect George Frederick reminisc
The Trinity Building, designed by Francis Hatch Kimball and built in 1905, with an addition of 1907, is among the first Gothic-inspired skyscrapers in New York. Kimball's sensitive adaptation of this historical style establishes a sympathetic relationship between the skyscraper and its early Gothic Revival neighbor, Trinity Church and Churchyard. An entirely freestanding, steel-framed structure, the Trinity Building anticipates the skyscraper "cathedral" tower type which emerged just a few years later—of which the Wool worth Building is the most notable example. The spire of Trinity Church, the picturesque roof lines of the Trinity Building, its companion, the U.S. Realty Building, and the Woolworth Building tower form a romantic ensemble and create a striking, Gothic silhouette on Lower Broadway. Kimball, who had worked with the English Victorian Gothicist William Burges, had won acclaim as a designer of theaters and churches before receiving several important skyscraper commissions at the turn of the century; these tall buildings are known for their important innovations in the technology of caisson foundations. His strong predilection for Gothic design and his engineering expertise made Kimball the ideal architect for the Trinity Building commission.
Development of Lower Manhattan
Since the seventeenth century, Lower Manhattan has been New York's center of commerce and finance. By the last decades of the nineteenth century, many major American businesses had established headquarters there, and by the early twentieth century, the skyline of Lower Manhattan had been dramatically transformed as the early skyscrapers appeared. The advancement of elevator technology and new developments in structural engineering allowed architects to construct tall, spacious, and efficient office buildings, suited to the narrow sites of the island. In the 1880s and 1890s, Broadway became the main artery of the district.*^ Insurance companies, conscious of their public images, were among the first to erect structures celebrating their wealth and prosperity.
In 1898, the five boroughs were consolidated into Greater New York, awakening a strong awareness of the city's history and a sense of civic pride on the part of the general public. At this time, there was also a growing mistrust of monopolies and big business practices were severely criticized. Large corporations attempted to counter such sentiments by erecting buildings that would give an impression of not merely financial stability but of trustworthiness, tradition, and integrity, in order to imply that big business served the needs of the public.
As this new building type emerged, so did the need for appropriate stylistic and compositional expression. Architects found solutions in a variety of historical styles, but "none was more pervasive than classicism. The classical, tripartite division of the elevation into a base, a shaft, and a capital was widely accepted, in part because it could accommodate the large proportions of skyscrapers; the neo-Classical style was commonly employed for civic architecture, thus providing, by association, a positive image for the corporation
The Neo-Gothic ,Style
Although the Gothic Revival was influential in the United States during the nineteenth century, the style was rarely employed for commercial architecture and early skyscraper designs. Contemporary architectural criticism focused on the notion that no single historical style could accommodate the variety of building types demanded by modem life, and until "a distinct system of architectural forms appropriate to our age and civilization" was found, historical styles should co-exist. Despite the acceptance of stylistic variation, Gothic was generally not considered to be relevant to the design of office buildings, prior to the erection of the Woolworth Building, (Cass Gilbert, 1911-13, a designated New York City Landmark). Although few, the early, Gothic-inspired skyscrapers were massive, stylistically innovative structures which proved to have a great impact on Manhattan's skyline.
In addition to the Trinity and U.S. Realty Buildings, ether outstanding examples of Neo-Gothic skyscraper design are Gilbert's West Street Building, (1905); Kimball's enormous City Investing Building, (1908, demolished); and the Liberty Tower by Henry Ives Cobb, (1909, a designated New York City Landmark).
The subjective connotations of the Gothic style—spirituality, scholasticism, fraternity, craftsmanship—seem to have little to do with an architecture of capitalism. As the "Commercial Gothic" developed, however, critics made formal, stylistic comparisons between the verticality and thrust of Gothic cathedrals, (particularly their spires), and skyscrapers. Due to their location next to the early Gothic Revival Trinity Church, a sense of place and the picturesque qualities of the Gothic style were decisive factors in Kimball's choice of this style for the Trin
decorative curtain finials
Solid unfinished hardwood finials for the end of wooden curtain rods. These are sold by the pair. These finials are for 1-1/4" diameter pole. This item usually ships out in 2-3 days. Large orders may take 7-9 days. Please contact us at 1-800-244-6492 with any questions on this product or other products on our website. **** RETURN POLICY: If for any reason you are not completely satisfied, please return this product within 30 days of receiving and we will give you full merchandise credit back. Please contact us at 1-800-244-6492 if you have any questions or concerns regarding returns. Provide for us your name and order number to assist us with processing your request. **** ABOUT THE SELLER: Capitol City Lumber Company is a unique lumber and hardware retail store. We cater to a wide array of customers from the do-it-yourselfers, homeowners, remodelers to the small to large-size contractors. We specialize in having a vast array of lumber, building materials and hardware, often times the hard to find items. Our company was started in 1947 and we are still known as an ole timey lumber company by local customers. We believe in a policy of fair pricing, quality products and dependable service. Our store location is located at 4216 Beryl Road in Raleigh, North Carolina, near the NC State fairgrounds.
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