Decorative Iron Window Bars

decorative iron window bars

  • Relating to decoration

  • cosmetic: serving an esthetic rather than a useful purpose; "cosmetic fenders on cars"; "the buildings were utilitarian rather than decorative"

  • (decoratively) in a decorative manner; "used decoratively at Christmas"

  • Serving to make something look more attractive; ornamental

  • (decorativeness) an appearance that serves to decorate and make something more attractive

  • a transparent opening in a vehicle that allow vision out of the sides or back; usually is capable of being opened

  • A pane of glass filling such an opening

  • An opening in a wall or screen through which customers are served in a bank, ticket office, or similar building

  • a framework of wood or metal that contains a glass windowpane and is built into a wall or roof to admit light or air

  • a transparent panel (as of an envelope) inserted in an otherwise opaque material

  • An opening in the wall or roof of a building or vehicle that is fitted with glass or other transparent material in a frame to admit light or air and allow people to see out

  • Smooth (clothes, sheets, etc.) with an iron

  • a heavy ductile magnetic metallic element; is silver-white in pure form but readily rusts; used in construction and tools and armament; plays a role in the transport of oxygen by the blood

  • cast-iron: extremely robust; "an iron constitution"

  • press and smooth with a heated iron; "press your shirts"; "she stood there ironing"

  • parallel bars: gymnastic apparatus consisting of two parallel wooden rods supported on uprights

  • (bar) barroom: a room or establishment where alcoholic drinks are served over a counter; "he drowned his sorrows in whiskey at the bar"

  • Prohibit (someone) from doing something

  • Prevent or forbid the entrance or movement of

  • Fasten (something, esp. a door or window) with a bar or bars

  • (bar) prevent from entering; keep out; "He was barred from membership in the club"

decorative iron window bars - Mrs. May's

Mrs. May's Trio Bar Variety Pack, 1.2-Ounce bars (Pack of 20)

Mrs. May's  Trio Bar Variety Pack, 1.2-Ounce bars (Pack of 20)

In a world of processed foods, endless ingredient lists, and high sugar treats Mrs. May's Naturals took a more basic approach. Why not combine simple and wholesome ingredients to make a delicious snack. Sounds easy, but it wasn't. While Mrs. May's treats go back more than two generations, we've re-worked and perfected our recipes to bring you the best possible product. The result is always the same: a deliciously light and crunchy snack that everybody loves. After introducing four flavors just a few years ago, Mrs. May's now offers 15 great varieties. Each made with premium grade ingredients such as roasted nuts, toasted sesame seeds, natural fruit pieces, organic evaporated cane juice, rice malt, and sea salt. The snacks are slowly dry roasted to bring out the most flavor, and to add a lively crunch! All Mrs. May's products are vegan, non-GMO, cholesterol free, dairy free, wheat free, Gluten free, 0 Trans Fat and contain no artificial colors or flavors. And our ingredients lists are short and sweet!

87% (17)

Second Battery Armory

Second Battery Armory

Morrisania, Bronx

The Second Battery Armory, the first permanent armory located in The Bronx, was built in 1908-11 to the design of Charles C Haight, a former member of the New York State militia and a prominent architect known for his institutional buildings. Prominently situated on a sloping site, the armory is notable for its bold massing, expressive brick forms, picturesque asymmetry, and restrained Gothic vocabulary; the design of the structure retains references to the tradition of medieval imagery in earlier New York armory buildings, but bears a marked relationship to Collegiate Gothic institutions.

Having a large drill shed and an administrative building to the side, anchored by a corner tower, the armory was critically praised for its rational structural expression. Haight was awarded the commission, following a design competition, by the New York City Armory Board, the agency then authorized to construct new armories in the city.

The armory originally housed the Second Battery, a field artillery unit of the National Guard whose history dated to the Washington Gray Troop of 1833; units which were successors to the Second Battery remained in the building until the 1980s. Its location in the Morrisania section of The Bronx reflects the rapid growth of the borough at the turn of the century and the accompanying expansion of public services. A one-story addition to the armory (c. 1928), by architect Benjamin W. Levitan, along much of its Franklin Avenue frontage, modified Haight's original design through a skillful near-replication of its features. The Second Battery Armory remains one of the most distinctive public buildings in The Bronx.

The National Guard and Armories

The Second Battery Armory was built for a unit of the National Guard of the State of New York, long the largest and most active state militia in the country. The tradition of state militias remained strong in America from the Revolution through the nineteenth century; in 1792 Congress passed an act that established uniformity among the various state militias.

While the volunteer militia provided a large portion of the fighting forces in the nineteenth century, during the Civil War (at which time the name "National Guard" came into common usage) the readiness of the militia for warfare and its relationship to the standing army were called into question.

The New York Armory Law of 1862 attempted to address these issues by spurring the creation of regiments and armories, but met with little success in the aftermath of the war. With changes in American society in the second half of the nineteenth century - increasing industrialization, urbanization, labor union activity, and immigration - the role of the National Guard was affected, leading to its resurgence.

In the midst of a severe economic depression, the first nationwide general strike over working conditions occurred after a railroad strike in 1877; the National Guard was called to support police and federal troops against strikers and their supporters in dozens of American cities. Although units had been called previously to quell civil unrest, after 1877 the role of the National Guard was largely to control urban workers in strikes and "riots," and a wave of armory building began nationally.

The term "armory" refers to an American building type that developed in the nineteenth century to house volunteer state militias, providing space for drills, stables, storage, and administrative and social functions.

Aside from their military and police function, units of the National Guard were in large part social organizations; some, like the prestigious Seventh Regiment (first to adopt the term "national guard"), drew members from the social elite, while many others recruited primarily from local ethnic groups.

The earliest quarters for New York militia units were often inadequate rented spaces. The first regimental armory built in the city was the Tompkins Market Armory (1857-60), the result of a collaboration between the Seventh Regiment and the local butchers, in which a drill hall was above a market.

The Seventh Regiment later constructed its own armory (1877-79, Charles W. Clinton, 643 Park Avenue, a designated New York City Landmark), which had national influence in establishing the armory as a distinct building type while stimulating other New York units to build their own armories.

The Seventh Regiment Armory, modelled in plan after such nineteenth-century railroad stations as the first Grand Central Station, features a fortress-like administrative "headhouse" building with a central tower, connected to a drill shed which utilizes iron trusses to span a large space.

In 1884 the New York State Legislature created an Armory Board in New York City. The Board was charged with making the arrangements to condemn land for, to allocate funds for, and to authorize and oversee the construction, furnishing, and maintenanc

Entrance: Guy's Hospital

Entrance: Guy's Hospital

I can't believe I got this shot, the people traffic is not stop but I was determined.
Grade II* listed. Hospital and chapel. 1721-5 & 1728 with other C18 additions, part rebuilt later C20. Ranges around inner quadrangles, 1721-5; central main entrance block by Thomas Dance, 1728 (remodelled by Richard Jupp, 1774); east wing originally by James Steere, 1738-41, completely rebuilt in facsimile after World War II; chapel and west wing by Richard Jupp, 1774-7.
MATERIALS: centre block: multi-coloured stock brick and Portland stone; slate mansard with dormers behind brick parapet over stone cornice to outer sections. Wings similar, with stucco to ground floor; slate mansard with dormers with
alternating triangular and segmental pediments to side sections behind brick parapet above stone cornice.
PLAN: large forecourt with buildings on 3 sides, 2 inner quadrangles behind.
EXTERIOR: centre block: 3 storeys, sunk basement and attic, 13 bays. Projecting central frontispiece of 5 bays in stone with rusticated ground floor containing 5 round-headed openings
with rusticated voussoirs, the central 3 bays, with decorative wrought-iron gates and fanlights, forming an open arcade leading to the cloister behind, the outer ones glazed in round-headed recesses. Above, 4 giant Ionic attached columns flanked by 2 giant Ionic pilasters rise through 1st and 2nd floors to support entablature with paterae in frieze, with pediment above over central, slightly projecting 3 bays. 3 panels with bas reliefs of putti between 1st- and 2nd-floor windows, statues of Aesculapius and Hygeia in niches at 1st floor, and allegorical figures in tympanum all by John Bacon. Stone rustication continues across outer sections of ground floor, which are set in advance of upper floors and have rusticated voussoirs to recessed round-headed windows, and
balustraded parapet above. All windows are sashes with glazing bars and flat, gauged-brick arches.
West wing: 3 storeys and attic, 15 bays. Slightly projecting central section of 5 bays with ground-floor of rusticated stone containing round-headed sash windows with glazing bars in round-headed recesses with rusticated voussoirs and plain band at spring, the central opening a double door of 8 panelswith radial fanlight, cornice head, and iron gates with overhanging lamp holder. Keystones support cornice with broad band above containing balustraded panels beneath 1st-floor
windows. Stone architraves to 1st- and 2nd-floor windows, with pulvinated friezes and alternating triangular and segmental pediments over cornices to 1st-floor windows. Stone-coped pediment above stone cornice containing clock face. Side sections are stucco at ground floor with similar windows and doors with keystones supporting cornice beneath broad band at 1st-floor sills continuous with that across central section. All 1st- and 2nd-floor windows are sashes with glazing bars, outer sections with gauged, flat brick arches. Gabled end of 5 bays to street.
East wing (Boland House): a copy of west wing except that it has a sunk basement, a wind-vane dial in the pediment instead of a clock, and no doors to side sections or iron gates with overhanging lamp holder to central door. Unmatching, pedimented 5 bay end to street.
Chapel in centre block of west wing: Richard Jupp c1775 with remodelling of sanctuary, 1959. Almost square plan with galleries on 3 sides, altar at west end. Chapel, which is approached through narrow vestibule beneath east gallery which contains stairs leading to galleries, has aisle of 4 bays formed by Ionic columns supporting north and south galleries. A 5th bay to the west contains the sanctuary in the centre, a vestry to the north and an organ chamber to the south.
Entablature above columns has dentil cornice and fluted frieze with paterae, which continues along west wall, broken only by round arch with blue marble architrave, above altar. Round-arched (later) stained-glass windows to central 3 bays of sanctuary, a square-headed leaded one to each gallery either side. 5 sash windows to east gallery. Doors with radial fanlights to vestibule at east end.
In centre, a shallow niche with a monument in white marble to Thomas Guy by John Bacon, 1779. It depicts the founder assisting a sick man into his hospital which is shown in relief in the background. A decorative cast-iron railing forms semi-circle around. Groin-vaulted plaster gallery roof supported on columns with foliage capitals. Flat plaster ceiling to main body of chapel with circular motif in centre and framed by groined semi-vaults. Quadrangle ranges south of main entrance: rectangular plan with 2 inner courtyards separated by a loggia of 10 bays with round-headed arches on stone piers running north/south. British Listed Buildings

decorative iron window bars

decorative iron window bars

Clif Bar Energy Bar, Variety Pack of Chocolate Chip, Crunchy Peanut Butter, and Chocolate Chip Peanut Crunch, 2.4-Ounce Bars, Pack of 24

8 Crunchy peanut butter; 8 chocolate chip peanut butter; 8 oatmeal raisin walnut (now contains 8 chocolate chip instead of 8 oatmeal raisin walnut). Made with organic oats and soybeans. High in protein; no trans fats; 23 vitamins & minerals. Nutrition for sustained energy. Clif Bar supports organizations that address environmental, health and social issues. Clif Bar is named after my father, Clifford, my childhood hero and companion throughout the Sierra Nevada mountains. In 1990, I lived in a garage with my dog, skis, climbing gear, bicycle and two trumpets. The inspiration to create an energy bar occurred during a day-long, 175-mile ride with my buddy, Jay. We'd been gnawing on some other energy bars. Suddenly, despite my hunger, I couldn't take another bite. That's the moment I now call the epiphany. Two years later, after countless hours in Mom's kitchen, Clif Bar became a reality. And the mission to create a better-tasting energy bar was accomplished. Thanks, Mom! Clif Bar has grown since 1990, and still the spirit of adventure that began on that ride continues to thrive each day. As the company evolves, we face many choices, yet we always do our best to take care of our people, our community and our environment. - Gary, owner of Clif Bar. We source ingredients which do not contain wheat, dairy and are not genetically engineered. 70% Organic ingredients; certified organic by QAI.

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