Kevin Rambo takes you step-by-step through the assembly of a wooden pediment to dress up the windows and doors of your home.

Bill Bichell, Gene Lyman and Chris Edwards install the pediment over the south door in the Drawing Room. The pediment is reconstructed but the design is based off of physical evidence and a surviving pediment at Monticello (which was built by the same carpenter). Video by Maggie Wilson.

This is the Parthenon West Pediment Frieze as seen from the Acropoli Metro station. Pretty cool.

Smallcap Investor presents you a Interview with Gary Freeman, Director, President and CEO from Pediment Expl. Ltd., which was made at the Hard Assets Conference in Las Vegas!

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the pediment from the Temple to Zeus at Olympia. Was there this summer, and just filmed it walking by.

garage pediment

In fact, on either pediment or lintel, and sometimes on both, each of the three sanctuary towers carries an image of the appropriate guardian of direction (Indra to the E, Yama to the S, Varuna to the W and Kubera to the N). The scene on the lintel of two figures with arms around each other is uncertain but possibly of Rama fighting Tataka, or Arjuna and Shiva; below them is a wild boar, and this could be the avatar of Vishnu, as well as representing the temple's builder Yajnavaraha, whose name means 'sacrificial boar'. Step round to the W face of the central sanctuary. The pediment, like those of the other towers, shows Varuna on geese. The lintel depicts Ravana abducting Sita, wife of Rama, in a scene from the Ramayana. Around to the north face, the pediment again mirrors those of the other towers - Kubera on a throne (representing the magic chariot Pushpaka) supported by three simhas. The lintel also carries a scene from the Ramayana. in which the two monkey brothers Valin and Sugriva. battle for the crown. If you look over to your right, you v an see the same scene carved on the pediment of the gopura of the second enclosure. On the S face of the N tower, immediately behind you, the pediment has Yama on a buffalo, while the lintel shows Krishna killing a demon. On the W of this tower, Varuna is supported by geese on the pediment, and on the pediment Vishnu is seen riding his mount. garuda (this northern sanctuary tower was dedicated to Vishnu, who is depicted on either pediment or lintel of each face, either as himself or as Krishna). On the N side, Kubera once again occupies the pediment, and on the lintel Krishna kills a double-torsoed demon. Finally, over the E entrance to the N tower, Krishna kills a demon on the pediment, tearing out an organ; on the lintel, Indra rides Airavata, but in an unusual version - the elephant has just one head.

Lintels, pediments and decorations The sandstone relief carvings of Banteay Srei are among the finest in all Khmer art, in invention, richness and execution. The pink sandstone, apart from being attractive in itself, is relatively hard, and has weathered only a little to retain the sharpness of the original work. What also contributes to the interest of the decoration is the depth seated. On the pediment of the other side, facing west, the God of Love, Kama, fires an arrow at Shiva in an attempt to draw the god's attention to his wife Uma. On the northern 'library', the E-facing pediment shows Indra, God of the Sky, riding his three-headed elephant Airavata and creating rain to put out a firein the Khandava forest, created by the god Agni in order to kill the naga Taksaka who lived in the forest. The god asked Krishna and his brother Balarama to help, and they positioned themselves on either side of the forest, to stop the animals from fleeing and to fire their arrows to stop the rain from falling. These arrows have often been misinterpreted as streaks of rain. On the W-facing pediment, in a scene that occurs later in the same epic, Krishna finally kills his uncle Kamsa, who has pursued and tormented him. Turn to your right to begin a circuit around the central platform. Facing you is the N door of the mandapa, with a pediment with Kubera, God of Wealth, here appearing in his capacity as guardian of the N, above Rahu devouring an elephant; the lintel has a more typical depiction of Rahu among foliage. Walk clockwise around the platform. Over the E entrance to the mandapa Indra rides a three-headed Airavata; the lintel below has three simhas. The pediment and lintel over the southern and northern doors of the mandapa are identical and show Kubera. To your left, the E- facing pediment of the S tower shows Shiva and Uma on Nandi, while the lintel has Indra on a three-headed Airavata. On the S side of this tower, both the pediment and lintel show Yama, God of the South as well as of Judgement, on a buffalo. Here also as on all the facades of the towers, are magnificent devatas and guardians standing in niches. Continue round to the back of the tower, facing W. Both the pediment and lintel show Varuna, the guardian God of this direction, riding a hamsa. To see the N pediment and lintel, squeeze into the narrow space between the S and central towers. The pediment shows Kubera, God of the North, supported by simhas. On the lintel, the loss of the figure's head makes it difficult to identify but it is likely to have been Kubera; it is supported by a lotus and simhas. Turn round to face the S blind entrance to the central sanctuary. The pediment, like that of the S tower in the same position, shows Yama on a buffalo.

Description One of the most important and best-preserved Macedonian tombs discovered so far is the so-called Tomb of Judgement. Its name derives from the painted representation of the judgement of the dead, unique in antiquity. The tomb lies with other similar funerary monuments along the road connecting the town of Mieza with Pela, the capital of the Macedonian Kingdom. Dated to the last quarter of the fourth century BC, it has a particularly imposing fa?ade and is the largest known Macedonian tomb. The monument is a typical double-chambered Macedonian tomb with barrel-vaulted ceilings, buried under a tumulus 1.50 metres high and 10 metres in diameter. The two-storeyed fa?ade, which combines both Doric and Ionic styles, is crowned by a pediment and gives the impression of a two-storeyed building. The 'ground floor' is Doric with four engaged columns in antis supporting a Doric entablature of triglyphs and metopes. The eleven metopes preserve part of their polychrome decoration with representations of the battle of the Centaurs and Lapiths, a popular theme. A band of pegs and another with painted flowers and volutes separate the metopes from the Ionic frieze above. This bas-relief frieze with stucco figures depicts a battle between Greeks and Persians. The 'second storey' has six Ionic engaged columns, 1.46 metres high, alternating with false doors, and was surmounted by a pediment. The pediment, of which only fragments survive, had painted decoration. On the 'ground floor', between the antae and the engaged columns are four painted panels representing the judgement of the deceased. The dead soldier is lead by Hermes Psychopompos ('guide of the souls') before the judges of the Underworld, Aiakos and Rhadamanthys. This theme, known from Plato's Gorgias, is extremely rare in iconography. Differences in the rendering of the figures indicate that two painters worked on the composition. The ante-chamber, though not fully excavated, does not appear to have had painted decoration. The interior of the burial chamber, however, with its ornate architectural features recalls the houses at Pella and Delos. It has a toichobate, a wall proper, antae at each corner, an entablature and a vaulted ceiling. The walls are painted deep blue, red and white, and the architectural members are decorated with painted Ionic kymatia, rosettes and bands. The Tomb of Judgement was discovered during road construction in 1954 and was excavated by Professor Photios Petsas in 1954-1964. Both the ante-chamber and the fa?ade were severely damaged in antiquity. The monument was re-excavated in recent years by L. Stephani and restored in 1998. An access ramp for visitors with ambulatory difficulties is currently under construction. Author I. Psarra, archaeologist music by Stamatis Spanoudakis

Restoration Carpenter Bill Bichell installs a band of egg-and-dart molding on the overdoor pediment in the Drawing Room at Montpelier using hide and stainless steel pins. Video by architectural historian Maggie Wilson.

Roofing tips and a tour of a typical gable type roof. Be sure to maintain your roof in order to minimize roofing cost. For more helpful information on roofing maintenance, please visit our web site at: http://roofing-cost.com From wikipedia: A gable is the generally triangular portion of a wall between the edges of a sloping roof. The shape of the gable and how it is detailed depends on the structural system being used (which is often related to climate and availability of materials) and aesthetic concerns. Thus the type of roof enclosing the volume dictates the shape of the gable. In Classic Greek and Roman architecture, the analogous feature is called the tympanum. Strictly speaking, the tympanum is the infill area, often triangular, of the pediment, which also consists of the raking cornice or ends of the sloped roofs (which may appear to bear, but do not actually bear on the tympanum - the fact that many tympana bear intricate and expensive carvings declaring the building's purpose is evidence of its non-structural role), and the cornice proper, which bears on the architrave, which in turn is supported at points by columns of a colonnade. The Saitta House, Dyker Heights, Brooklyn, New York built in 1899 has many prominent gables. A variation of the gable is a crow-stepped gable, which has a stair-step design to accomplish the sloping portion. Crow stepped gables were used in Scotland and England as early as the seventeenth century. Examples of the crow stepped gable can be seen at Muchalls Castle and Monboddo House, both 17th century Scottish buildings. Other early examples are found in parts of Denmark and Sweden. A Gothic ornamental gable of the Cathedral architecture over the windows and portal are called in the German and Dutch language Wimperg too. Gable ends of more recent buildings are often treated in the same way as the Classic pediment form. But unlike Classical structures, which operate through trabeation, the gable ends of many buildings are actually bearing-wall structures. Thus, the detailing tends to be ambiguous, misleading, and to some architects "deceitful". See: John Ruskin and The Seven Lamps of Architecture. Gable roofs are also just about the worst type of roof to have in hurricane regions, as not only do gable roofs easily peel off in hurricane winds, but according to one Hurricane Survival Guide book, a gable end "catches wind like a sail." When wind flows over a gable roof it behaves much like a wing. Lift is created on the leeward side of the roof. The flatter the roof the more likely this will happen. Steep roofs tend to cause the wind to "stall" as it goes over the roof and breaks up the effect. The addition of a "vertical fin" to low pitched roofs will also help.

Description DESCRIPTION THE ARCHAEOLOGICAL SITE INFORMATION The Tomb of the Flowers, one of the most magnificent and best preserved monuments of ancient Mieza, lies together with other similar tombs, like the Tomb of Judgement only a hundred and fifty metres to the east, along the ancient road connecting Mieza with Pella, the capital of the kingdom of Macedon. The Tomb of the Flowers dates to the first half of the third century BC, and so is contemporary with the 'Kinch' Tomb in the same area. After the burial of the deceased and the completion of the customary funerary rites this subterranean funerary monument was covered by a tumulus over 2.50 metres high and 15-17 metres in diameter. The tomb consists of two barrel-vaulted chambers and a temple-shaped fa?ade with four engaged Ionic columns and polychrome Ionic and Doric kymatia. The entrance to the tomb was sealed with six poros blocks. The one metre high tympanon of the pediment was decorated with a beautiful painted scene depicting an elderly couple reclining on a symposium couch. Both figures wear a chiton and himation with opulent folds. The pediment is crowned by three palmettes painted in chiaroscuro. The walls in the narrow ante-chamber were painted black in the lower part and white in the upper part, the two colours being divided by bands of black and white. A beautiful painting of six flowers alternating with water-lilies on a blue-green background, as if floating on the surface of a pond, adorns the ceiling. A double door of marble, 3.50 metres high and 0.90 metres wide, with relief motifs separates the ante-chamber from the burial chamber. The latter preserves a rectangular stone base, upon which stood the box or larnax containing the bones of the deceased. The vaulted ceiling is covered with pale yellow plaster, and the walls were painted in imitation of marble revetment, black in their lower part and red in their upper part, the two colours being divided by a white band. The monument's characteric Ionic decoration, with its detailed design and polychromy, provides useful information for both its dating and for large-scale painting in Greece. Although the tomb was looted several times in antiquity enough furnishings remain to offer a glimpse of the opulent grave gifts it once contained. Especially important are the ivory plaques from the revetment of a bed. The tomb was excavated in 1971 by the then Ephor of Antiquities Katerina Romiopoulou after an attempted illicit excavation. Today it is covered by a shelter and is accessible to visitors. Soon, the shelter will be extended and the earthen tumulus, which once covered the monument, will be restored. Author I. Psarra, archaeologist

Renovation of a Venitian mirror's pediment

May 7, the 11th Sub-Committee requisitions the St.-Ambroise church, transforming it into a revolutionary debating club. Thousands of people gather there every evening. The red flag is hoisted over the pediment. ----------

This video shows how to build a windows sill using Prime Stucco & Mouldings products. for more information on stucco mouldings, stucco trims, cornices and other architectural accents such as column base and caps, keystones, pediment flowers and brackets visit http://primestucco.com

Spice up the look of any entrance or living area with our lovely Howard Miller Theodore Grandfather Clock. Designed with a classically simple wood finish, the smooth and sophisticated clock is sure to command the room. Howard Miller Theodore Grandfather Clock Features: Measures approx. 78-3/4"H x 20-1/4"W x 11-1/2" deep Choose from oak or cherry finish Arched bonnet pediment Cable driven Westminster chime Comes with a 2-year limited manufacturer's warranty Keywords: Home Shopping Network, HSN, HSN TV Howard Miller Theodore Grandfather Clock

This video shows how to install a stucco cornice. for more information on stucco mouldings, stucco trims, cornices and other architectural accents such as column base and caps, keystones, pediment flowers and brackets visit http://primestucco.com

This video show how to install stucco trims around a window. for more information on stucco mouldings, stucco trims, cornices and other architectural accents such as column base and caps, keystones, pediment flowers and brackets visit http://primestucco.com

Enter through the town gopura (Gopura IV) with its E-facing pediment in pink sandstone showing Indra on his three-headed elephant mount Airavata; appropriately, as Indra is the guardian of this direction. This gopura is the largest at the site - the others decrease in size towards the central sanctuary. The gopura is cross-shaped in plan and it was here that the main stele of the temple was discovered in 1936, enabling the date of consecration to be worked out precisely from its information about the position of the sun, moon and planets. Walking through, you face the causeway that leads, almost 70m distant, to the next enclosure. It is lined on either side with stone boundary posts (32 in all), which are almost identical to those at the cliff-top temple of Preah Vihear far to the N. To left and right, beyond these posts, the causeway is flanked by the remains of galleries, with stone pillars on the inner sides and laterite walls facing outwards. Halfway along the causeway, stop to look at the two porches on the left and right. Each of these leads to a 'long gallery' aligned N-S and originally roofed with tiles. The 'long gallery' to the S has a pediment facing you that shows Shiva and his wife Uma riding the bull Nandi -the motif known as Umamahesvara - and is flanked by two other, slightly shorter galleries. On the other side of the causeway the 'long gallery' has a pediment showing Vishnu in the form of the lion Narasimha ripping the chest of the king of the asuras Hiranyakasipu. The purpose of these 'long galleries' is unknown.

Private residence. Riverside, CA, USA. The exterior of this otherwise plainly designed house has to be the most beautifully kept up and decoratively painted in Riverside. The owners have visually enriched it with a myriad of colors strategically applied on and to the side of the various motifs with which the exterior is peppered. Every time I pass by, I must stop to view the building's beauty as well as to marvel at the proudly kept front yard that is expertly designed and lovingly tended thruout the year by the husband and wife team that owned the property. Just today (7-6-08) while returning from Linda's house, I saw Dave tending something near the front porch and said, "Hey Dave. How'ya doin'? Hot enough for you?" He greeted me with a smile and we began discussing the work that he puts into it and that he regrets not having enough time to do it all. "There is time to do only so much," as he turned his head away and toward the richly-painted pediment above the roof of the porch. We must have spoken for more than 15 minutes about other things too. The sidewalk that he also expertly maintains has a selection of plants. He named them all. I forgot all of their names, but could not forget the bitter taste of a cute flower that I nibbled. Its flavor was of extremely bitter quinine and there I was, bending over and attempting to spit it all out, with Dave looking on as I remarked at the bitterness. I had to walk back to the studio and we parted. I hear that they give tours on occasion.

This buddhistic complex , built from 780 to 810 in three stages, is 185 m long on 165 m broad and includes 240 similar vaults. It is organized like a mandala centered around a principal temple. Candi Sewu is associated to Candi Lor at the north, with Candi Kulon at the west, with Candi Asu at the east, and with Candi Bubrah at the south, all of them built according to the same plan. It is a buddhistic temple built at the end of the 9th century on a plan identical to Candi Sewu. Right from the beginning, this temple was built on a cruciform plan. On the other hand, the windows, rectangular, have thereafter being stopped at the base. The accesses were also transformed. Such as it is presented today, without its superstructure, it has a small air of Borobudur, in much smaller, with its many sculptures of sitted Buddha around. one can see some reliefs and a pediment decorated with celestial creatures. There, on the right side, in a group of houses, one can see some stone lines, as well as marks of foundations of old structures. To go there, for the preceding temple, it is necessary to continue the way until the end then to turn left to return at the level of Candi Sewu.

This video shows the technology used to manufacture Prime Stucco & Mouldings products. for more information on stucco mouldings, stucco trims, cornices and other architectural accents such as column base and caps, keystones, pediment flowers and brackets visit http://primestucco.com

Silvering of Glass Strips - Part 1

At the end of the causeway and just in front of the gopura of the next enclosure (Gopura III) are two long galleries on either side. A passage between these and the walls of the third enclosure allowed access from the town. This gopura immediately in front of you is the entrance to the temple proper; though smaller than the outer gopura, it was flanked by lions, and contains the pedestal for a linga. There are inscriptions on the inner door-frames. The E-facing pediment, which lies on the ground just N of the causeway, shows Sita being seized by the demon Viradha (from the Ramayana). The W-facing pediment is now in the Musee Guimet in Paris, and shows a scene from the Mahabharata in which two asuras, the brothers Sunda and Upasunda, fight over the possession of the apsaras Tilottama. Crossing through this gopura, you are inside the laterite-walled third enclosure, on a broad earth causeway with the moat on either side. The next gopura (II), with its magnificent double-tiered pediments, takes you through another laterite wall into what at first glance appears to be an over-crowded central enclosure. However, this is only because the brick wall of the innermost enclosure has collapsed and was, in any case, only 9m away. The tiny, exquisite building directly ahead of you is, in fact, the innermost E gopura {Gopura I). On either side you can see laterite 'long galleries' in poor condition. These, continuing with four others round the walls, take up most of the space between the second and inner enclosures, and were originally roofed with tiles. Almost at your feet are the remains of a sculpture of the bull Nandi in a sitting position. The most immediately striking feature of the central enclosure in front of you is its scale, more suited to small children than to normal adults. The doorway of the central shrine, for example, is only 108cm high. The slim east gopura, now free-standing, appears hardly to have been designed as a gateway. The three sanctuary towers stand in a row on a 90cm-high T-shaped platform, so close together that it is hardly possible to walk between them, let alone stand back to view their pediments and lintels. Each has an E-facing entrance, with the usual blind doors on the other three sides. The central sanctuary, taller than the other two, is .fronted by an arrangement that became common much later elsewhere - a mandapa, or antechamber, connected to the sanctuary by a narrower corridor - the antarala. The central sanctuary was dedicated to Shiva, as was the southern sanctuary, while the northern one was dedicated to Vishnu - a lopsided and unusual arrangement (contrast this with the three-tower layouts at Phnom Krom and Phnom Bok, dedicated to Shiva in the centre, Vishnu to the N and Brahma to the S).