"’Blinds FRAMES w AND ^Rackets m STAIRS, r RAILS?^ BALUSTERS. NEWEL POSTS V ..^fiTOOilllOIIllDE^ CHURCH FURNITURE INTERIOR FINISH. ROME, N. Y Rind, McNtlly & Co., Prini SPECIAL EDITION OF THE NEW UNIVERSAL MOULDING BOOK CON'TA.lN'ING- Latest Styles of Mouldings — AND — ARCHITECTURAL DESIGNS OF EXTERIOR AND INTERIOR FINISH IN GREAT VARIETY, GlTlig Fill Size of Honlnes iM tlieir Fiact Measireieit ii Iiclies on eacli Moili. RAILS, BALUSTERS AND NEWEL POSTS, ArcMtraYGS, Front and Interior Doors Btorr Doors, Wood Mantels, Pew Ends. Office Counters, SCROLL AND TURNED BALUSTRADES Bx'Aolx.etfii Axid. ELEVATIONS OF DOOR AND WINDOW FRAMES. Entered acc"'rdiDg to Act of Congreee, In the year A. D. 1887, by Eakd. McNai.i.t & Co., In the Office of the Librarian of Congreae, at Washington, D. C. CHICAGO: PUBLISHED BY RAND, McNALLY & COMPANY, Printers, Engravers and Electrottpers. 1887. AVERY LIBRARY COLUMBIA UNIVERSITY ^ ^ Chapter on Moiluings, with Illustrations ... Columns and the Orders of Architecture, with Illustrations, Glossakial Index, ........ iv., V., vi., vii. viii., ix., X. xi., xii. INDEX. Balusters, ......... Bay Windows, ........ Brackets, ......... Cornice Drapery, ........ Counters, Bank and Office, ...... Doors, ......... Doors, Front and Frame, ...... Fence, ......... Frames, Window, ....... Fronts, Store, ........ Gate, ......... Interior Doors and Finish, ...... Mantels, Wood, ........ Mouldings — Crown, ........ Sprung Cove and Bed, ...... Bed, Return Beads, ....... Quarter Round, Half Round and Cove, O. G. Stops, ........ P. G. and Bead Stops, ...... Astragal, ........ Nosings, ........ Panel and Base, ....... Band, ......... Rabbeted Panel and Base, ..... Battens, ........ Pew Back Rail, Wainscoting Cap and Threshold, Sunk Panel, ....... Lattice, Back Band and Transom Bar, Interior Cornice and Bead, ..... Section of Window Frames, ..... Ceiling and Window Stools, ..... Casings, ........ Inside Finish, ....... Base, ........ Drop Siding, Flooring and Ship Lap, Water Table, Drip Cap and Base, Eastlake and Queen Anne Casings for Windows and Doors, Pickets, ......... Pew Ends, ........ Posts, Newel, ........ Pulpits, ......... Rail, Outside, Balusters and Posts, . . Rail, Stair, ........ Veranda Sawed Balustrade and Rail, .... Stair Plans and Stair Brackets, ..... Verandas, ......... Price List of Mouldings and Stair Work, 88 58 48 to 53 47 60 63 to 75 73 to 75 56 76 to 79 62 56 65 to 68 61 . 1 to 5 6 6, 7 8 9 10 11 . 12 and 28 13, 14 and 29 15 to 17 18 to 22 23 to 27 . . 28 30 31 32 33, 34 35, 36 37 38, 39 40, 41 . . 42 43 44 45, 46 56 59 84 to 87 59 55 80 to 83 54 89 57 90, 91, 92 IV CHAPTER ON MOULDINGS. MouiiDDfG. — A general term applied to all the varieties of outline or contour given to the angles of the various subordinate parts and features of buildings, whether projections or cavities, such as cornices, capitals, bases, door and window jambs and heads, etc. The regular mouldings of Classi- cal architecture are, the iillet. or list; the astragal, or bead; the cyma reversa, or ogee; the cyma recta, or cyma; the cavetto, or hollow; the otolo, or quar- ter round; the scotia, or trochilus; the torus, or round; each of these admits of some v>iriety of form, and there is considerable difference in the manner of working them betweer. the Greeks and Romans. They are represented on page v. The mouldings in Classical architecture are fre- quently enriched by being cut into leaves, eggs and tongues, or other ornaments, and sometimes the larger members have running patterns of honeysuckle or other foliage carved on them in low relief ; the upper moulding of cornices is occasionally ornamented with a series of project- ing lions’ heads. In middle age architecture, the diversities in the proportions and arrangements of the mould- ings are veiy great, and it is scarcely possible to do more than point out a few of the leading and most characteristic varieties. In the Norman style tlie mouldings consist almost entirely of rounds and hollows, variously combined, with an admixture of splays, and a few fillets (page v., fig. C); the ogee and ovolo are seldom to be found, and the cyma recta scarcely ever ; in early work very few mouldings of any kind are met with, and it is not till the stjle is con'-iderably ad- vanced that they become numerous ; as they in- crease in number, their size is, for the most part, proporlionably reduced. One of the most marked ]ieeuliai ities of Norman architecture is the constant recurrence oi mouldings broken in- to zigzag lines ; it has not been very clearly ascertained at what period this kind of decora- tion was first introduced, but it was certainly not till some considerable time after the cotnmeiice- ment of the style ; when once adopted, it became more common than any other ornament, and it is frequently used in great profusion ; it may be made to produce great variety of elleet by chang- ing the section of the- mouldings and placing the zigzags in dilTereiit directions (tigs. A and B, page V. ; fig. J, page vii.). About the same time that the zigzag appeared, other oninments of various kinds were introduced among the mouldings, and are frequently met with in great abundance ; two of the most marked are the billet, and a series of grotesque heads placed in a hollow moulding, with their tongues or beaks lapping over a large bead or torus ; but of these ornaments there are many varieties, and the other kinds are incalcula- bly diversified. (Page vii., fig^. E, F, K, L.) In the Early English style, the mouldings be- come lighter, and are more boldly cut than in the Norman ; the varieties are not very great, and in arches, jambs of doors, windows, etc., they are very coiiimonl}' so arranged that if they are circumscribed b}' a line drawn to touch the most prominent points of their contour it will be found to form a succession of rectangular recesses, as a, b, c, d, e ; they generally consist of alternate rounds and hollows, the latter very deeply cut.andafew small fillets ; sometimes also splays are used ; there is con- siderable inequali- ty in the sizes of the round mouldings, and the larger ones are very usually placed at such a distance apart as to admit of several smaller between them ; these large rounds have frequently one or more nar- row fillets worked on them, or are brought to a sharp edge in the middle, as at Iladdenham, Great Haseley, etc., (figs. D, G and JI, page vii.); the smaller rounds are often undercut, with a deep cavity on one side, and the round and hollow members constantly unite with each other with- out any parting fillet or angle. The ornaments used on mouldings in this stjde are not numerous, and they are almost invariably jilaced in the hol- lows; the commonest and most characteristic is that whic.i is known ''y the name of the tooth- ornament, which usually consists of four small plain leaves united so as to form a pyramid, but it is sometimes worked diflerentlj’’, and at the west door of St. Cross Church, Hampshire, and the chancel-arch of Stone Church, Kent, is composed ol small bunches of leaves ; these ornaments are commoidy placed close together, and several series of them are fretinently introduced in the same suit of mouldings; the other enrichments consist chicflj' of single leaves and flowers, or of running patterns of the foliage peculiar to the style. t V GRECIAN OVOLO. Temple at Corinth. SCOTU, TROCHILUS. OR CASEMENT. Baths of Diocletian, Rome. CY5IA RECTA. Theatre of .^larcellus, Rome. QUIRKED OGEE. Arch of Constantine, Rome. NORTH HINKSEY, BERKS. ROM.\N OVOLO. Theatre of Marcellus, Rome. CAVETTO. Theatre of Marcellus, Rome. CY^U REVERSA OR OGEE. Temple of Antonius and Faustinus, Rome. ASTRAGAL. Theatre of Marcellus, Rome. liTLET, OXFORDSHIRE. ARCH, CHOIR, PETERBOROUGH CATHEDRAL. T1 CHAPTER OX MOULDINGS. The Decorated mouldings are more diversified than the Early English, though in large suits rounds and hollows continue for the most part to jircvail ; the hollows are often verj' deeply cut, but in many instances, especially towards the end of the style, they become shallower and broader ; ovolos are not verj’ uncommon, and ogees are frequent; splays also are often used, either by themselves or with other mouldings ; fillets placed upon larger members are abundant, especially in the early part of the style, and a round moulding, with a sharp projecting edge on it. arising from one-half being formed from a smaller curve than the other, is frequently used.; this is characteristic of Decorated work, and is ver_v common in stringcourses ; when used hori- zoutallj' the larger curve is placed uppermost ; there is also another moulding, convex in the middle and concave at each extremity, which, though sometimes found in the Perpendicular style, may be considered as generally character- istic of the Decorated. Fillets are very' frequently used to separate other members, but the rounds and hollows often run together, as in the Early English style; (fig. II, page vii.). The enrich- ments consist of leaves and flowers, either set separately or in running patterns, figures, heads and animals, all of which are generally carved with greater truth than at any other period (figs. I, P. Q, R, page vii.); shields, also, and fanciful devices, are sometimes introduced ; the varieties of foliage and flowers are very considerable, but there is one, the ball flower, which belongs espe- cially to this style, although a few examples are to be found of earlier dale; this is a round hol- low flower, of three petals, enclosing a ball. (Figs. N and O, page vii.) In the Perpendicular style, the mouldings are generally flatter and less effective than at an earlier period ; one of the most striking character- istics is the prevalence of very large, and often shallow, hollows ; these sometimes occupied so large a space as to leave but little room for any other mouldings ; the hollows and round members not unfrequently unite without any line of sep- aration. but the other members are parted either by quirks or fillets ; the most prevalent moulding is the ogee, but rounds, which are often so small as to be only beads, are very abundant, and it is very usual to find two ogees in close contact, with the convex sides next each other ; there is also an undulating moulding, which is common in abacuses and dripstones, peculiar to the Per- pendicular style, especially the latter part of it ; and another, indicative of the same date, which is concave in the middle and round at each ex- tremity, is occasionally^ used in door jambs, etc. In Perpendicular work, small fillets ai'e not placed upon larger members as in Decorated and Early English ; splays also are much less frequent than in the earlier styles, but shallow hollows are used instead. The ornaments used in the mould- ings are running patterns of foliage and flowers ; detached leaves, flowei's, and bunches of foliage; heads, animals and figures, usually grotesque ; shields, and various heraldic and fanciful devices; the large hollow mouldings, when used in arches or the jambs of doors and windows, sometimes contain statues with canopies over them. In Normandy and the adjacent parts of France, as late as to the end of the Decorated style, the mouldings do not differ materiall}' from those of England, although there is often less variet}' in large suits, the same members being many times repeated ; it is also very usual when capitals and bases are ap])lied to the round mouldings in the jambs of dooi's and windows, etc., so as to con- vert them into shafts, to find that no change is made in their forms above the capitals, while in England the mouldings abo'^’e and below the capitals are seldom the same. Vll E-AliUAYE AUX DAMES, CAEN. (Segmental Billet.) P-ST. CROSS, HANTS. (Bird’s Head.) h-jieuton college chapel, a. d. i2n. I-SOUTHWELL minster, NOTTS. Circa 1290. J— BE.VULIEC. Near Caen, Normandy, K-ST. EBBE’S, OXFORD. (Beak Head.) li— ST. WILLIAM’S CHAPEL, A'ORK. (Chain.) C-SOUTH DOOR ROLVENDEN CHURCH, KENT. Circa 1260. N-DOOR BLOXHAM, OXON. Circa 1280, O-STRINGCOURSE, KIDDINGTON, OXON. Circa 1350. P-ST. ALBAN'S HERTFORDSHIRE. Circa 1480. Q-ST. FRIDESWIDE'S SHRINE. OXFORD CATHEDRAL. Circa 1180. E-'WEST END OF NAVE. ST. MARY'S, OXFORD. A. D. 1488. AND THE ORDERS OE ARCHITECTURE. The different orders of columns in Classical architecture — (and they have been the models for those of all other styles) — are five in number: The Doric (fig. A, page ix.), Ionic and Corinthian (Figs. B and C, page ix.), and the Tuscan and Composite (figs. D and E, page ix.), -which are only varieties of the Doric and Corinthian. These columns are so important an architectural feature that the exact proportions of their several parts are settled, and vary according to the order. The Doric is the oldest and simplest of the three Greek Orders. Its flutings are not separated by a fillet, but b}' a sharp edge. The moulding below the abacus of the capital is an ovolo, but little curved in section, though quirked on the top. Below the ovolo are a few plain fillets. The Grecian Doric has no base, or rather, all the columns stand on one base; but the Roman Doric has a separate base for each column, con- sisting of a plinth, torus and astragal. The ovolo is in section a full quarter-circle and is not quirked. The distinguishing feature of the Ionic Order is its four spiral projections, called volutes. One tradition is that they are an imitation of the curls of an Ionian maiden ; anotlier that they simu- late rum's horns, and still another that they are an imitation of a piece v/i bark placed by a builder between the echinus and the abacus, and which curled upon drjfing into this pleasing shape. The principal moulding of this Order is also an ovolo, though very nicely curved. The flutes are separated by small fillets and the lower base mouldings consist sometimes of two scotiae, separated by small fillets and beads, above which is a large torus. The Corinthian Order is the lightest and most ornamental of the Grecian Orders. It is said that Callimachus, a Corinthian sculptor, on ob- serving some acanthus leaves, which had grown up around a basket left upon a grave and had bent over after reach- x^ing the top, took it as a model for a stone capital. However it is probably an imitation of older Egj-ptian capi- tals of the same kind which still exist. The Ionic column was higher and more slender than the Doric. The Corinthian was taller and more slender than the Ionic. Its distinguishing feature is its capital, -which consists of an astragal, fillet and apophj'ge, and a bell and horned abacus. The abacus consists of an ovolo, fillet and casetto. Rows of leaves encircle the bell. The base has two scotise between the tori, which are separated by two astragals. The various mouldings connected with the Orders, were, in their design and execution, such as only the Greeks, the most artistic people of the world, could produce. IX A— Doric C'upital and Entablature. C— Corinthian Capital and Entablature. D— Tuscan Capital and Entablature. X TUSCAN WITH DETAILS ASTRAGAL Arornvcba XI ABRIDGED GLOSSARIAL INDEX. Abacus, the Hat member at tlie top of a capital, originally a square tile, and in the Classical styles always square: this form is retained in French Gotldc, and in Norman; but in English Gothic it is usually round, sometimes octagonal. Apse, the semicircular space at the end of a building. In Roman Basilicas the tribune. In Christian churches of the twelfth century the chancel generally terminated by an apse. Ball-iiower, an ornament peculiar to the Decorated Style. Barrel-vault, resembling the inside of a barrel; I called also Wagonheaded and Tunnel. Bar-tracery, that kind of window-tracery which distinguishes Gothic work, resembling more a bar of iron twisted into various forms than stone. Basilica, the name applied by the Romans to their public halls, either of justice, or exchange, or other business; used as churches, and after- wards served as models for churches. Battering, sloping inwards from the base. Battlement, a notched or indented parapet, origi- nally used on castles, but afterwards employed as an ornament on clmrclies, especially in the Perpendicular Style. Bil'ct. an ornament much used iu Norman work. Byzantine Style. The term includes the styles of architecture which prevailed in tlie Byzantine emitire from the foundation of Constantinople, A. D. 828, to its final conquest by the Turks. The plan of these buildings was generally that of a Greek cro.ss, with a large cupola rising from the centre, and a smaller one over each of the arms of the cross, and sometimes two on the nave: arches, round or horse-shoe. ! Chamfer, a sloping surface forming the bevelled edge of a square pier, moulding: the two ends of the chamfer are often ornameLted, and these ornaments are called chamfer-terminations. Clere story , or Clear-story , the upper story of a church, as distinguished from the triforium or blind story below it, in which the oi)enings, though resembling windows, are usually blank or blind, not glazed. Clustered Pillar, a pillar formed of a cluster of small shafts, or made to appear so, and a dis- tinguishing feature of the Gothic styles. In Classical and Norman architecture the columns are plain and not clustered, and this is often the case in French Gothic also. Coping, the sloping termination of a wall or but- tress, to throw off the water; when forming the top of a buttress, it is also called a gablet, or little gable. Corbel, a i)rojecting stone to carry a weight, usually carved. In Norman work the corbels are often made into grotesque heads, and the eaves of the roof are carried bj' a row of corbels called a corbel table. In the Early English Style the corbels are often carved into the form called a mask or a buckle, but heads are also commonly used, or foliage. In the Decorated Style thej"^ are often the heads of a king and a bishop, especially those carrying the dripstone over a door, or a window. In the Perpendicular Style the moulding is often con- tinued, and forms a square or round termina- tion, called a dripstone termination. Crocket, an ornament pecidiar to the Gothic styles, usuallj' resembling a leaf half opened, and pro- jecting from the upper edge of a canopy or pyramidal covering. The term is supposed to be derived from the resemblance to a shepherd’s crook. It is not used in the Norman Style. Cruciform Churches. In the western parts of the Roman empire the Latin form was adopted, i. e., the nave long, the choir and transepts short; iu the eastern, the Greek form, i. e., the four arms of equal length. Crypt, a vault beneath a church, generally beneath the chancel oul}'; used sometimes for exhibi- tion of relics. Decorated English Style, the second Gothic style. Windows, showing geometrical tracery. Early English Style, the first Gothic styde. Elizabeth, the style of the Renaissance, and a mixed style; cliiefly houses. Entablature, the horizontal block of stone or masonry lying across the top of two columns, found in Classical architecture; but by degrees the arch substituted for it. Facia, a broad fillet, band, or face u.sed in Classical architecture, sometimes by itself, but usually in combination with mouldings. Fillet, a small square band used on the face of mouldings. Finial, the ornament which finishes the top of a pinnacle, a canopy', or a spire, usually carved into a bunch of foliage. Cable, the end wall of a building sloping to a point. Gablets, small gables. Gargoyle, or Gargoyle, a projecting water spout, often ornamented with grotesque figures. Geometrical Tracery. This term is applied when the openings are of the form of trefoils, quatre- foils, spherical triangles, &c. This kind of tracery came into use in the time of Edward I. Gothic, the style of architecture which flourished iu the western part of Europe from the end of the twelfth century' to the revival of the Classi- cal styles in the sixteenth. Jambs, the sides of a window opening, or door- way. Lancet WindoiD, a window the lights of which are of the form of a Surgeon’s lancet, chiefiy used in tlie thirteenth century, Imt occasionally at all periods. At first they' are single, then two, three, or more together separated by solid masonry', wliich is gradually reduced in thick- ness until mere mutlions are produced; several lancets are then grouped under a single arch. Mask, or Buckle, an ornament used on corbels in the thirteenth and fourteenth centuries: wlien looked at in front it often resembles a buckle, but the shadow of it on the wall is the profile of a human face. Monastery, in early' time-^ — a church, with three or four priests attached, often called Minister ABRIDGED GLOSSARIAL INDEX. MuUion, the vertical bar diviiling the lights of a window; it occurs in very late Norman work, hut is essentially a Gothic feature. Niche, or Tabernacle, a recess for an image. Norman Style, commences in the last quarter of the eleventh century, and ceases during the last quarter of the twelfth. Oculus, a term applied to the large circular window at the west end of a church, common in foreign churches, hut not usual in England. Ogee, a moulding formed by the combination of a round and hollow. Parapet, the low wall at the top of a building forming the outline against the sk}', at first solid, then often divided into battlements, afterwards pierced with ornamental open-work. Pier-arches. The main arches of the nave or choir resting on piers are so called. Pinnacle, a sort of small spire usually terminating a buttress. Plinth, the projecting member forming the lower part of a base, or of a wall. Pointed. First, Middle, and Third Pointed Styles, synonymous with the more generally received names of Early English, Decorated and Per- pendicular. Pointed Arch. This is usually a Gothic feature, or a mark of transition to it, but it occurs also in earlier work, before the change of style, as at Fountains Abbe}', JIalmesbury. Porch, a projecting structure to protect a doorway. ^oins, corner stones. Penaiviance, Style of the, in England called Eliza- bethan or Jacobean. Pib, a projecting baud or moulding on the surface of a vault. Romanesque, the French term for the debased Ro- man styles, including the Norman Style. Spherical ttnangle, a triangular opening with curved sides, used in clere-story windows, as at Cran- ford; and in the tracery lights of other win- dows, as at Merton and York. Spire, an essentially Gothic feature. ^uinches, the small arches across the angles of a square tower to carry an octagonal spire. Stone churches, first built about A. D. G80. Sunk-chamfer moulding, a feature of the Deco- rated Style. Tooth-ornament, an ornament re.«embling a row of teeth, sometimes called Dog’s Tooth and Shark’s Tooth. M. de Caumont and the French anti- quaries call it Violette, and it often bears con- siderable resemblance to that flower when half expanded; it occurs in Anjou in work of the twelfth century, in England it is rarely used before the thirteenth, when it is so abundant as to form one of the characters of the Early English Style. In France it is used freely in Normandy, but scarcely at all in the Domaine Royale. Tratisept, the portion of the building crossing the nave, and producing a cruciform plan. Transition. The period of a change of style, | during which there is frequently an overlap- ping of the styles, one building being in the old style, another in the new, at the same period. The last quarter of each century was . a period of transition, or change from the style of that century to the style of the one which came after. This term is chiefly applied to the great change from the Norman, or Roman- esque, to the Gothic style, but may also be applied in a minor degree to each of the subse- quent changes of style. Transom, the transverse horizontal piece across the mullions of a window; it occurs sometimes in Early English, and Decorated work, but is far more common in the Perpendicular Style. Tribune, the semicircular space at one end of the Basilica, for the judges. In Churches copied from the Basilicas it was retained as the apse. Triforium, or blind-story, the middle story of a large church, over the pier-arches and under the clerestory windows; it is usually orna- mented by an arcade, and fills the space formed by the necessary slope of the aisle roofs. Tudor-floicer, an ornament belonging to the Per- pendicular Style, but not confined to the Tudor period. Turrets, small towers. Ticelfth Century. Vide Norman. I'ympanum, the space between the flat lintel of a doorway and the arch over it, usually filled with sculpture Crown 3Loiildingso 1 2 thrown Moiudings, Crown Mouldings, Crown Mouldingso 1 . Bed Mouldings, 7 Met urn Meads, « Quarter Round, Half Round and Coje, ■j 10 O. G, Stops. jP. Go and Bead Stops, 1 1 12 Astragal MouldingSi JSosingSi Xosuif/s. -3 4 Jt^anei and Base MouidinffSo 15 16 I*anel and Base Mouldings, jt*anei and Hase JiLoaldings, 17 18 Band Mouldings. Band Mouldings^ 20 Band Mouldings, Band 3Iouldings. Band Mouldings^ Rabbeted Panel and Base Moulding^. Rabbeted Panel and Base Monldings. Rabbeted Panel and Base Mouldings. ■25 20 Hahbeted Panel and Base Mouldings. •28 Astragal and Battens. 30 l*eiv Hack Mail, !f ainscoting Cap and ThresJioids Sunk J*a7iel Mould hi ys. :n 3-2 Lattice, Back Band and Transom Bar Moulding. Interior Cornice. a 3 34 Interior Cornice and Head Jloaldings, Section of Window Fvaino 35 Section of Wxnd/ow Jf^reane. 4,559 Tariing Slop. 4,5G0 H » % Pulley Stile. 4,088 Stop. V4x 4,557 % x5 OuUide Casing, Section of Iflndow Frame. Ceilinij and Windotr Stools. 37 Window Stools. lHx4V4 38 Casings, 4,57 3 4,573 \ « I ‘i 4,575 F Casiiif/s, I 4(t Inside Finish, Inside I'inish. 1 1 4 :.' JBase. Drop Siding, llooring and S/tip Lap,. 4;i £?89‘t ^ i 41 Water Table, Drip Cap and Base. Eastlnh'e and Queen Anne Casinf/s for Windows and Doors^ 40 Mastlake and Queen Anne Casings for Windows and Doors, Ccrnice Ut'cipa-ff. 47 Cornice Drapery. 48 Brackets, 617 616 Brackets. brackets. 49 Brarkets Nos. 019 to G2S, inclusive, droppeii. 629 630 Brackets. oO Brackeic, Brackets. 51 ^2 li rackets. By a elects. 53 GG9 TjBEaniy Brackets. 54 Veranda Sawed Balastrade and It ail. G T 3 G j 4r G 7 o Foot Fail for Sawed Balustrade $2. TO per hundred feet. G79 680 Veranda Sawed Balustrade and Fail. Outside Hail, Balusters and Hosts, ')-y GSl 56 FicketSy Gate and Fence, Vet'amlas. ¥ 68 Bay Windows, l*cfr ICitUs (ind Pnfjfiis 50 CO Ojjice or Bank Counters. Sl'j>3d Manieis, G1 03 btorc JJociSo 04 IJoors. Juferior JJoors auc. /'7i./.s7< 05 Into ioi' Doors (Hid Fhiis/i Intei‘i 73 '74 I'roiif Doors and Frame, Jt'pont Doors (im( Frame, Xeft. ~ 4 .“ Jiighi. 76 Window Frame, 746 Window Frame. Window Frame. 17 Window Frame. 78 Window Frame, 748 Window Frame. Windoiv Frame, 79 749 Oothic Windoie Frames. 730 80 Stair Mail, mm stair Hail. 81 Thickness of Hulls vsrics from I’f to 2’^. proportionate to width. 82 SUiif Mail, Thickness of Rails varies from !»£ to 2’^, proportionate to width. Stair Hail, 83 Thickness of Rails varies from to proportionate to width. €4 Newels. ‘ j.RJJ. JSeivels. 85 JS'ewels, hU 772 773 774 77o 776 Newels. 87 Jialusfers. Stairs and Stair brackets Stairs and Stair Brackets. 90 Pt 'ice of 3Ionl(linffs PRICK OF MOUROINQS, I^er Hundred. Feet (Lineal Menmn-c). No. I’rice. No. Price. •No. Price. No. Price. No. Price. ! No. Price. 4000 iS li.50 4066 #3.50 4132 S 1.50 4213 #3.44 4321 #4.69 4422 #4 12) 4001 5 OO 4067 1 .00 4133 1.87) 4214 3.12) 4322 6. 19 4423 4.37) 4002 4.r>o 4068 1 OO 4134 3.81 4215 2.55 4323 2.50 4424 3.19 4003 5 . 5 (> 4069 3.50 4135 3 13) 4216 2.00 4324 2.25 : 4425 3.37) 4004 7.5»> 4070 1.00 4136 4.50 4217 1.75 4325 2.25 4426 5.75 4005 3 00 4071 1.00 4137 4.12) 4218 1.50 4326 2 00 4427 ‘3.75 4006 3.50 4072 1.41 4138 2.81 4327 1.75 4428 5.97 4007 10.50 4073 3.0G 4139 1.75 Nos. 4219 to 4230 4328 1 37) 4429 2.50 4008 I'^.OO 4074 3.50 4140 3.81 4329 2.25 4430 2.25 4009 4.00 4075 3.13) 4141 1.75 4330 2 62) 4431 2.25 4010 ‘^.50 4076 3.81 4142 1.50 4231 1.62) 4331 5.50 4432 1.55 4011 6 88 4077 1.75 4143 1 25 4232 2 66 4332 2.75 4433 1.62) 4012 50 4078 1.37) 4144 1.00 4233 5.00 4333 3.12) 4434 1.87) 4013 4.50 4079 1.15J 4234 5 . 55 4334 4.69 4435 1 . 75 4014 5 00 4080 1.00 Nos. 4145 to 4156 4235 3.12! 4335 6.75 4436 1.87) 4015 5.00 4081 1.00 4236 4.50 4336 4.06 4437 2.12) 4016 4.00 4082 1.00 4237 1.75 4337 5.50 4438 2.25 4017 4.00 4083 1 . 1 3) 4157 1.00 4238 2.97 4338 5. 15 > 4439 5.00 4018 7.50 4084 1.75 4158 1 12) 4239 5.15i 4339 1.87! 4440 1 75 4019 8.75 4085 3.03) 4159 1.37) 4240 5.26 4340 1 50 4441 2. 12) 4020 10.50 4086 1.13) 4160 3.19 4241 4.31 4442 2 12) 4021 5.00 4087 1.37) 4161 3.00 4242 2.81 Nos. 4311 to 4:156 4443 2 12) 4022 3.00 4088 1.75 4162 4.75 4243 1.87) 4444 2 50 4023 7.50 4089 5.00 4163 5.55 4445 3.12) 4024 5.50 4090 5.55 4164 3.19 Nos. 4244 to 4281 4357 1 25 4025 4091 4165 2.34 inclusive dropped 4358 "iT^T Nos. 4«6 to 4468 4026 5.50 4092 2.35 4166 1 50 4359 2.00 incuisive aroppea Book. 4027 0 , 55 4093 5.00 4167 1.15^ 4282 2.50 4360 2.50 4028 4.00 4094 1.75 4168 1.00 4283 3.4 t 4361 3.00 4469 1 50 4029 5.00 4095 1.37! 4169 1 00 4284 4.06 4362 4.37) 4470 5.00 4030 a . 55 4096 1.13) 4170 1.00 4285 3 . tH 4363 5.1(i 4471 3.44 4031 3.00 4097 5.50 4171 1.12) 4286 4.69 4364 3 25 4472 2.25 4032 5.00 4098 5.55 4172 1.50 4287 6.37 ‘ 4365 3 12; 4473 2.25 4033 5.03 4099 2.00 4173 1 63) 4288 3.58 4366 5 »>5i 4474 2.37) 4034 3.50 4100 1.75 4174 5.:? 1 4289 5.75 4337 5 55 4475 3.75 4035 3.50 4101 1.37) 4175 3.37.' 4290 2.75 4368 5.00 4476 2 25 4036 3.75 4102 1.13) 4176 0 . 55 4291 3.44 4369 1 50 4477 2.00 4037 0.00 4103 1.13) 4177 5.57 4292 5.50 4370 1 . 25 4478 2 50 4038 1.00 4104 1.37) 4178 3.66 4293 3.00 4371 1 75 4479 5 00 4039 1.13} 4105 1.75 4179 1.75 4294 3 . 55 4372 5.00 4480 5 50 4040 1.13i 4106 3.00 4180 1 .50 4295 5.00 4373 5 75 4481 5 00 4041 1.371 4107 2.35 4181 1 25 4296 5.50 4374 8.00 4482 2.50 4042 5.00 4108 1.13) 4182 1 00 4297 5 50 4375 9.00 4483 2.25 4043 1.75 4109 1.37! 4298 3. 00 4376 3 00 4484 2.12) 4044 1.03.) 4110 1.75 Nos. .I!8:i to 4193 4299 3.50 4377 2.50 4485 5.81 4u45 5.50 4111 5.00 inclusive iln)|)pod 4300 4.37! 4378 2.12) 4486 5 75 4046 5 . 55 4112 3.35 4301 2.50 4379 1 . 37 l 4487 8 16 4047 3.50 4113 5.50 4194 1.00 4302 2.50 4380 5 . 55 4488 13 50 4048 3.03) 41 14 5.55 4195 1 12) 4303 2.50 to HOT 4489 1 50 4049 1 .OO 4115 5.00 4196 1.37) 4304 3 00 Nos. iriSl 4490 2 50 4060 5.00 4116 1 .75 4197 1.37) 4305 2.87) from liook. 4491 3.50 4051 1 .00 4117 1.37) 4198 1.50 4306 4.37) 4492 2 25 4052 4 .0(» 4118 1 . 15.J 4199 1 .63) 4307 2.75 4408 2.00 4493 1.25 4053 1 00 4119 3.60 4200 1.87) 4308 4 25 4409 2.25 4494 l.OO 4054 5.00 4120 3.36 4201 3.13} 4309 3 . 25 4410 3.41 4495 2.50 4055 1.00 4121 2.00 4202 7.00 4310 3.25 4411 l..26 4517 1 . 4542 3.50 4567 4596 5.50 4655 4695 5 . 50 4518 1.00 4543 7.121 4568 4597 2.75 4656 4696 4 60 4519 1.00 4544 1.50 4569 5 . 62 i 4598 5.50 4657 4697 5 50 4520 1.371 4545 1.75 4570 8.35 4599 2.26 4658 4698 6.50 4521 1 11 4546 2.50 4571 5 621 4600 6.50 4659 4699 6 50 4522 1 621 4547 6 371 4572 3.50 4601 2 . 26 4660 4700 5 50 4523 1.72 4548 2 00 4573 4 50 4602 5 50 Nos. 4661 to 4678 4701 5 50 4524 1.56 4549 2.00 4574 5.50 4603 2.60 inclusive dropped 4702 5 50 4525 1.121 4550 3.50 4575 (i 50 46 C 4 6 60 from Book. 4703 5 50 4526 1.75 4551 4 OO 4576 7 50 4679 7 50 4704 5 50 4527 3.81 4552 4.75 Nos. 1577 to 4582 4680 6 75 4528 5 00 4553 2.60 incliiijive dropped from I5ook. from Book. 4681 6.26 S.y.s. PRICE LIST OP STAIR WORK. Fancy Turned Balusters. Plain Octagon Staved Newel Posts. Wc turn all our Stair Balusters 2 ft. 4 in. and 2 ft. 8 in. long, and keep these lengths always in stock. Are prepared to furnish, on short notice, any length or styles desired. Odd lengths cost extra. Prices for Fancj' Turned Cheriy or Black Wal- nut Balusters, similar to Cut No. 782; 1\4 inch Balusters .$ -09 “ “ 11 2 “ “ - .13 “ 15 “ 19 For Balusters like No. 783 add 2 cents each. Prices for Oak or Ash Balusters, similar to Cut No. 782: inch Balusters. $ .08 \% “ “ .09 2 “ “ 11 2M “ “ — 13 “ “ - 10 For Balusters like No. 783 add 2 cents each. Fluted or Octagon Balusters. Prices for Fluted or Octagon Cherry or Black Wtilnut Btilusters, similar to Cuts No. 784 or 785: 1^.1 inch Fluted or Octagon, each — $ .16 “ .18 “ 21 “ .24 “ 27 "I2 2H Mahogany costs about double price. Prices for Oak or .iLsh Balusters, similar to Cuts No. 784 or 785: inch Fluted or Octagon, each $ .15 2 17 214 ^ if ft if if 19 31 .^ it if ft a .22 Vi if if it a 25 Prices for Plain Octagon Staved Newel Posts. Black Walnut, Cherry, Oak or Ash, similar to Cut No. 763; For Mahogany Posts, add M.OO each; for Raised O. G. Panel, add gl .25 each. Octagon Sunk Panel Newel Posts. Prices for Sunk Panel Newel Posts, Fancy ^Moulded, Black "Walnut, Cherry or Oak, similar to Cut No. 764; 8 inch Sunk Panel Posts, with Cap $ 7.50 6 “ “ 8.00 10 “ “ “ “ “ 8.50 11 “ “ 9.00 13 “ “ “ “ “ 9.50 For Circle Top Panel add $1.00 “ Posts like No. 766 “ 4 00 “ “ “ No. 765 “ 1.50 “ Mahogany “ 2.50 “ Circle Top Panel. “ 1.25 “ Full Veneered “ 3.. 50 Octagon Sunk Panel Newel Posts, Panels Veneered. Prices for Sunk Panel Newel Posts, Black Wal- nut, Cherry or Oak, similar to Cut No. 764, with Panels Fancy Moulded, and Veneered with Ma- hogany, Rosewood or Bird’s-eye Maple; 8 inch Posts, with Cap $ 8.50 9 •• “ “ 9.00 10 “ “ “ 9 50 11 “ •' “ 10.00 12 “ “ “ 10.50 “ " with French Burl “ 3.50 For Posts like No. 766 “ 4.00 No. 765 “ 1.50 Fancy Turned Newel Posts. Prices for Black Walnut or Cherry, similar to Cuts No. 761 or 762: 5 inch Newel Posts, with Cap, each $2.25 6 •• “ “ “ “ 3.00 llainutonly 3.60 BALUSTERS FOR OUTSIDE BALUSTRADE. Prices for Pine or Whitewood: 3 X 3, 14 inches 16 •• 11 18 “ 12 20 “ 13 4 .\ 4, ( 14 “ 14 16 •• 15 t 18 “ 16 20 “ 17 « 22 ** 19 *i 24 “ 21 OOOOOOOOO0OOOOOOOO0^&OOOOO^O$O^OOOO^O^ UMBER o»6o06o4 OF ALL KINDS. Sfiingles, Lath, Fence Posts, Etc^f -»■ MANUFACTURER OF ■»' Doors, Sash, Blinds, Mouldings P'tr. ROME, N.Y. JV w m ti/ --«S.-3iTID IDE-T-