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:
“I fancy it must be the quantity of animal food eaten by the English which renders their character insusceptible of civilisation. I suspect it is in their kitchens and not in their churches that their reformation must be worked, and that Missionaries of that description from [France] would avail more than those who should endeavor to tame them by precepts of religion or philosophy.”
—Thomas Jefferson (1743–1826)
“God damnit, why must all those journalists be such sticklers for detail? Why, they’d hold you to an accurate description of the first time you ever made love, expecting you to remember the color of the room and the shape of the windows.”
—Lyndon Baines Johnson (1908–1973)
“Everything to which we concede existence is a posit from the standpoint of a description of the theory-building process, and simultaneously real from the standpoint of the theory that is being built. Nor let us look down on the standpoint of the theory as make-believe; for we can never do better than occupy the standpoint of some theory or other, the best we can muster at the time.”
—Willard Van Orman Quine (b. 1908)