Description
A glittering copper marquee spans the entrance, overhanging the solid brass doors. Over the marquee are three large arched windows. Building materials include marble from Italy, Vermont and Texas, limestone from Indiana, and granite from Maine to face the Corinthian columns.
The interior has a three-story lobby adorned with columns, a broad center staircase with trompe l'oeil alabaster handrails and balusters, lamps, velvet drapes, and stained glass windows of faux "Chartre Blue" in the foyer. Allegorical paintings by Hungarian muralist Willy Pogany originally adorned the ceiling and walls.
The larger of two crystal chandeliers, suspended from the second floor, is from the New York 's original Waldorf Astoria of the 1880s; it is thirteen feet tall and ten feet wide, and illuminated by 144 bulbs that reflect onto 4,500 hanging crystal teardrops.
The grand staircase is the main feature of the three-story lobby. During the day, sunlight streams in, illuminating the lobby. An immense crystal chandelier shines after the sun sets. On three sides of the lobby, stands a formation of marble columns topped by a balcony. A nearly celestial ceiling actually had machine generated clouds and points of light that twinkled like stars.
Movie palace architect John Eberson contributed the design for the auditorium. Here theatergoers enter the environment of an evening in Venice with a replica of the Rialto Bridge spanning the stage. Above the seating is an eighty-five foot ceiling that permits an open sky effect with stars and moving clouds originally effected by a projecting device called a "Brenkert Brenograph," costing $290 (in 1920's dollars). Lighted stained glass windows line the walls with grottoes, arches and columns simulating the courtyard motif.
Read more about this topic: Stanley Theater (Jersey City)
Famous quotes containing the word description:
“The type of fig leaf which each culture employs to cover its social taboos offers a twofold description of its morality. It reveals that certain unacknowledged behavior exists and it suggests the form that such behavior takes.”
—Freda Adler (b. 1934)
“Why does philosophy use concepts and why does faith use symbols if both try to express the same ultimate? The answer, of course, is that the relation to the ultimate is not the same in each case. The philosophical relation is in principle a detached description of the basic structure in which the ultimate manifests itself. The relation of faith is in principle an involved expression of concern about the meaning of the ultimate for the faithful.”
—Paul Tillich (1886–1965)
“As they are not seen on their way down the streams, it is thought by fishermen that they never return, but waste away and die, clinging to rocks and stumps of trees for an indefinite period; a tragic feature in the scenery of the river bottoms worthy to be remembered with Shakespeare’s description of the sea-floor.”
—Henry David Thoreau (1817–1862)