One long ogee top rail carries across both leaves, cresting over the centre joint and sweeping back down to meet each post. Square balusters, every one carrying a pair of stacked collars, fill the upper two-thirds above a solid lower panel worked with close vertical ribbing. Black with a soft sheen, hung between red brick pillars on a gravel drive.
Balusters fill the field, and the ogee decides how long each one gets to be. The stacked collars follow that same sweep instead of running level, so the banding climbs across both leaves as one arc rather than stopping at the centre joint. Vertical ribbing in the lower panel is the one straight, repeating thing on the gate, and it is what keeps a solid section that tall from reading as a wall.
It asks for more presence than the Mayeaux Gate’s shallow S-curve without going anywhere near the Inman’s scrollwork; the ornament is all in the collars and the arc. That makes it the one to point at for a wooded approach with masonry pillars, where a busier pattern would only disappear into the trees behind it.
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Every angle
