Norman Hall
Consulting the Oracle |
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Jupiter/Zeus & Juno/Hera
Founded both in Greek & Roman Mythology &
42" Round
Oil on Convexo® Canvas
Original Sold - Ltd. Editions Available
42" Round
Oil on Convexo® Canvas
Original Sold - Ltd. Editions Available
Norman Hall Style
Finished in 1891, is Rhenish Romanesque. The term "Norman" is indiscriminately used for round-arch architecture, such as is found here.
The walls are divided into bays by broad piers with heavy arching. The center bays of the east, south and west walls have pedimented niches carried on short columns with foliated caps, and supported on heavy corbels. From the lace of the piers, curved ribs support the beams that divide the ceiling into twenty-five panels. Additional force is given to the arching in the room by an impressive molding, marking the junction of walls and ceiling. A plain wainscot with molded base extends around the room, following the angles formed by the piers.
Decorations, although elaborate and rich as gold can make them, are quiet and dignified. The piers are deep olive green and embellished with an interlacing of various colors picked out with gold. The panels between the piers, not occupied by windows, have life-sized figures on a gold mosaic background. The figures are bearing the Working Tools of Freemasonry: Plumb, Trowel, Square, Mallet and Compasses.
The ceiling panels are a deep blue with the outside tinted chocolate brown. Decorations are alternating patterns found in ancient Irish or Scandinavian manuscripts. The rug has a background of deep greenish blue, necked with figures in shades of gold, red and black. The result is interlacing designs that produce the effect of a larger room.
Norman Hall is fifty-one feet long, forty-one feet wide and twenty-three feet high.
The walls are divided into bays by broad piers with heavy arching. The center bays of the east, south and west walls have pedimented niches carried on short columns with foliated caps, and supported on heavy corbels. From the lace of the piers, curved ribs support the beams that divide the ceiling into twenty-five panels. Additional force is given to the arching in the room by an impressive molding, marking the junction of walls and ceiling. A plain wainscot with molded base extends around the room, following the angles formed by the piers.
Decorations, although elaborate and rich as gold can make them, are quiet and dignified. The piers are deep olive green and embellished with an interlacing of various colors picked out with gold. The panels between the piers, not occupied by windows, have life-sized figures on a gold mosaic background. The figures are bearing the Working Tools of Freemasonry: Plumb, Trowel, Square, Mallet and Compasses.
The ceiling panels are a deep blue with the outside tinted chocolate brown. Decorations are alternating patterns found in ancient Irish or Scandinavian manuscripts. The rug has a background of deep greenish blue, necked with figures in shades of gold, red and black. The result is interlacing designs that produce the effect of a larger room.
Norman Hall is fifty-one feet long, forty-one feet wide and twenty-three feet high.
