If life was an antechamber to death, death was an antechamber, too—to other lives.
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Lance was third in line, hesitant to leave the small antechamber.
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She stood on tiptoe in the antechamber with Hassan's map in her hands.
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Atmosphere is what Central Park lacks right now, in the antechamber of springtime.
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Karyn and I took off our robes and stepped into a cold antechamber.
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Adjoining it was a cramped, impressively ugly antechamber — floral-print settee, chintzy sconces, sad carpet.
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Architects are designing schools where visitors encounter a single entrance point in a vestibule or antechamber.
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The exhibition begins in a dark antechamber faintly illuminated by the projection of a primeval waterscape.
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It leads off the small antechamber in the harem where the washerwoman keeps her baskets and soap.
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He and another suspect sit in an antechamber, off a hallway, with a German guard standing nearby.
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To enter, you have to wait in a pressurised antechamber until a monitor on the wall turns green.
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From there, I was ushered into a small antechamber with a large door and a foreboding, old-school knocker.
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But their waiting represents the deeper waiting of all those who have been confined in the antechamber of humanity.
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The antechamber features elements of a bedroom/bathroom environment, all painstakingly rendered in thousands of shiny chrome safety razor blades.
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The space is grim, just the kind of place you'd imagine as an antechamber to the gallows, or to Hell.
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Laing was standing next to a floor-to-ceiling rack of neatly labelled seed packets, in a small antechamber of the farm.
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On a recent evening, chef Michael Stember, one of the owners, wondered how to use an antechamber that contained a banquet table.
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Check-in takes place in a quiet antechamber as you sit with a glass of sparkling cava or a cup of tea.
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I stepped into spare, medieval grandeur, a bare stone antechamber lined with palm trees in brass pots and faded, once-elegant carpets.
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But here, amid the shadows of a deserted antechamber, a guy like Erie can pretend — at least fleetingly — that his life counts for something.
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Perhaps the real setting of every Shakespeare play, Jiayu thought, is a wall-less waiting room like this: life as an antechamber to death.
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They used economic power to gain control of our markets, then kept us waiting in the antechamber of the European Union for 15 years.
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Half the restaurant is reserved as a sort of antechamber, called the Living Room, used for canapés and champagne before dinner, or for coffee and digestifs afterward.
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Crossing a vertiginous balcony, levitated high above the garden, they negotiated the third of three separate reception areas, which in turn gave onto an enormous secretarial antechamber.
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All of which leaves the Palestinians stuck, having pursued the Oslo dream as far as an antechamber only to conclude that the cramped room has no exit.
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As the deputies ducked and scurried in a marble antechamber off the main hall, a visiting group from the rural Loiret département expressed dismay at the affair.
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But I spent the longest time in the small antechamber before this room, which featured the many back braces, plaster corsets, and prostheses Kahlo wore throughout her life.
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Take it all in: the black, ash-strewn antechamber; the blood-splattered operating room; and the group of young performers in frilly undergarments huddled together on the floor.
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If you've popped in, sans reservation, bets are that you'll remain in limbo for a spell, perusing artwork curated by Pop International Galleries and hung in an antechamber.
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To enter the exhibition, staged by the Communist Party's propaganda department, visitors pass through a circular antechamber with red walls emblazoned with slogans inspired by Xi's concepts on governance.
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Groups of up to 20 at any one time then enter a climate-controlled antechamber heated to 17 degrees Celsius, which prepares the body for the drop in heat.
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Yet, standing in the small antechamber at the front of the gallery, the branches and boughs still shift and sway, and the light that makes it through quietly mesmerizes me.
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I even tended to think of the smaller museum as a kind of antechamber to the larger one — an entry point, the place you go to first for historical grounding.
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His advisers will set up meetings in the antechamber to his recovery room to allow for day-to-day governance after he takes over from Mourao, according to the president's office.
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The baby made nearly daily appearances at the trial this week, sleeping soundly — for the most part — in an antechamber near the courtroom, watched over by Ms. Chaouqui's husband, Corrado Lanino.
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Archbishop Georg Gänswein, the prefect of the papal household, greeted Mr. Trump and escorted him to an antechamber outside the pope's office, where, after a few seconds, Francis came to greet him.
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The bitter sniping between members had started to take a toll on Flake, as it did on other committee members, who vented their frustration to each other in the Judiciary panel's antechamber.
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She felt her way by memory, breathing the austere reek of dust and disuse, until she came to a meager strip of light on the ground that signaled the door to the harem's antechamber.
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It makes perfect sense that the exhibition ends on a flat note, and a vast emptiness, with a tiny antechamber dominated by 14 black-and-white photographs taken from outer space during the Apollo missions.
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And just last fall, Americans in Paris capitalizing on the weak euro at Le Bon Marché department store would have seen a similar display, in which the shoes formed the antechamber for a sales concession.
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Pompeo and his four diplomats were waiting in an antechamber, where they languished for a full 15 minutes before being summoned down a long corridor, smoky with incense, where M.B.S.'s father, King Salman, was waiting.
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The first cage was opened into a sort of antechamber, and a chimp named Jason was first to explore his new home, rushing with what seemed like nervous energy through a small door into the large habitat.
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That's the problem facing Scott Carter, the writer who has so venturesomely put Jefferson, Dickens and Leo Tolstoy in a sealed antechamber to the afterlife, along with a copy of the Bible and some pens and paper.
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Archaeologist Ruth Shady Solís, the director of excavations at Vichama, says the wall once formed the antechamber of a public building and it faced towards the agricultural fields of the Huara Valley, according to the Latin American Herald Tribune.
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It included a conference table, a video conferencing setup, several desks, a bar, spreads of food, a Peloton exercise bike, a climbing machine, a boxing bag hanging from the ceiling, a gong, an antechamber where assistants work and a private bathroom.
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The antechamber was just as Hassan had described it, though Fatima had trouble imagining why he had ever set foot there himself: Buckets and rags were piled in one whitewashed corner along with stoppered jugs of vinegar and a tub of congealed soap.
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After being led into a dark antechamber and asked to remove shoes and socks (I pitied the woman wearing long laceup boots), we don raincoats and then move into another room, in the middle of which is a simulacrum of a cemetery.
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Two hanging yard signs covered with silver-painted palm fronds ("Metal Yard Sign with Sabal Palm Fronds I" and "Metal Yard Sign with Sabal Palm Fronds II," both 2019) lend a portentous feel to the narrow entry hallway that conjures a crypt's antechamber.
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Then Mr. Goldstein led the group to St. Peter's Church, not far from 1 World Trade Center, and stopped into the antechamber to discuss the 1806 Christmas Riots, set off by a gang attacking Irish Catholic worshipers leaving the church after midnight Mass on Christmas Eve.
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If the images in "Heart Attack of the Soul" are tender and bittersweet, the final series, "Antechamber of a Nude" (1999), which was produced upon a return to the same institution and is devoted exclusively to the women in it, is much fiercer and more uncompromising.
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It was held in a windowless yoga studio next to a thumping dance club, and in the antechamber—a makeshift gym where we were told to leave our bags, amid worn wrestling mats and free weights—you could hear the sounds of drunk people in nearby McCarren Park, mixing with techno beats from next door.
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It's in the nature of hell that it affords ever deeper degrees of torment and dread; you think it can't get any worse, but you're only in some antechamber of limbo, some zone of moderate awfulness; and that was my position when Ferry and Elisabeth were removed from the school and put in an ordinary state school instead.
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That's right: a Viking warrior, his chest still filled with the air of victory in combat, was not allowed to return home with his axe in his hands, Instead it had to left behind, perched against some sliding door on a bland tile floor in some anonymous, lifeless corporate antechamber, like a sad tableau of emasculated life in the 21 century, a symbol of a conquering hero conquered by bureaucracy.
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The Audience Antechamber The Audience Antechamber (Fogadási váróterem) was situated north of the ballroom on the first floor of the Baroque wing. In the Baroque era it was called Antichambre Ihrer Majestat der Kaiserin ("Her Majesty the Empress' Antechamber"). The room gave access to Maria Theresa's private apartments from the ballroom. In the early 1900s, the audience antechamber became part of the ceremonial apartments and had the same white- golden Rococo stucco decoration as the white antechamber on the other side.
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Example of antechamber in a large house or mansion. An antechamber (also known as an anteroom or ante-room) is a smaller room or vestibule serving as an entryway into a larger one. The word is formed of the Latin ante camera, meaning "room before". "Antechamber" comes from the French antichambre.
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It also has a nearly rectangular antechamber with small alcoves built into the side walls of the antechamber; a passageway connects the antechamber and the burial chamber which is nearly rectangular. The burial chamber is 5 meters high, the antechamber is 4 meters in height. The ceiling of the burial chamber features an intersecting triangular ceiling, with four triangular walls leaning toward the center, two levels of intersecting triangles or mojurim, and a stone cover.
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The White Antechamber The White Antechamber (Fehér előterem) is on the first floor of the Baroque wing and was situated south of the throne room. In the Baroque era it was called Zweytes Antichambre ("second antechamber"). In the early 1900s it had a Rococo white-golden stucco decoration with one chandelier and a white Rococo stove.
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The ceiling of the antechamber and corridor were similarly painted. Whereas the stars in the antechamber and the burial chamber pointed northward, the stars in the corridor pointed towards the zenith. The remaining walls of the burial chamber, antechamber, and parts of the corridor were inscribed with a series of vertically written texts, chiselled in bas-relief and painted blue.
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A cremation pit was discovered during the excavations, and the antechamber faces south.
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Clearing the objects from the Antechamber was like playing a gigantic game of spillikins.
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The main antechamber, filled with mounds of treasure and gold, also sinks into the sand.
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The last funeral that occurred in the antechamber is believed to be that of a horse.
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The two Hindu gods are Brahma and Indra. The Four Heavenly Kings guard the corridor. There are also images of Vajrapanis, which are guardian figures and they are on the walls of the entrance to the corridor, in the antechamber. Eight Guardian Deities adorn the antechamber.
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The corridor then continues north with a slight incline leading to the antechamber. Part way along, a second chamber is found in its west. The antechamber contained two passageways: one leads from the antechamber to the burial chamber directly west; the other, located in the south, leads around the chamber eventually entering it from the north. The winding passage may have served a symbolic purpose, allowing the king's spirit to the leave the chamber towards the north.
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The tomb consists of a vaulted passage, a 1.5 x 3 meter measuring antechamber and the 3 by 3 meter grave chamber. The antechamber was secured by a wall and by a two-winged door. The door, which was found broken but has since been restored and reattached, is made of limestone which was once plastered and is very heavy. The floor of the antechamber and the tomb are laid out with stone slabs, the walls are decorated with a circulating meander.
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Cabinet of Monseigneur 12. Salon of the Moors 13. Antechamber of Louis XIV 14. Church of Louis XIV 15.
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The entrances to the antechamber and the dome chamber had been closed by stone doors which were found broken during the research of the facility. The antechamber is of rectangular shape and has a double-pitched roof. The round chamber is covered with fine-made dome. The floors of both rooms are made of plastered granite slabs.
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Ladislav Čepička-Eliška Fučíková: Waldstein : Albrecht von Waldstein - Inter arma silent musae? Academia Praha 2007 (in German), German edition A map of Wallenstein Palace Originally tile stoves placed in each room heated the palace. The tile in the Antechamber was used later to line the fireplace. Guests waited in the antechamber to be granted audience with the Duke.
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Antechamber The antechamber (Előterem) of the private apartments opened from the Royal Entrance Hall. It had three windows facing toward the hills. The room had a typical Biedermeier white-golden stucco decoration with floral wallpapers, resembling to the cosy rooms of Schönbrunn Palace. All the rooms of the private apartments followed this Viennese style favoured by the King.
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Beyond the door is a second portcullis chamber, which was also left open. In turn this leads to a small antechamber and from there on to a further corridor whose access was concealed beneath the paving of the antechamber floor. This corridor leads to the burial chamber. Pyramidion of the pyramid of Khendjer, Egyptian Museum, JE 53045.
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The Antechamber is the last room on the first floor, and includes a multi-coloured painted Viennese vase with a Classical motif.
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In the antechamber likewise only two walls are painted and have the same repeating decorative scheme of the king depicted before various gods.
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The antechamber connects to two further rooms, a room with three recesses for holding statues called the serdab to the east, and the burial chamber with the ruler's sarcophagus to the west. The roofs of both the antechamber and burial chamber were gabled. With the exception of the walls immediately surrounding the sarcophagus, which were lined with alabaster and painted to resemble reed mats with a wood-frame enclosure, the remaining walls of the antechamber, burial chamber, and a section of the horizontal passage were covered with vertical columns of hieroglyphs that make up the Pyramid Texts. Unas' sarcophagus was left without inscription.
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In some cases, an antechamber provides a space for a host to prepare or conduct private business away from a larger party or congregation. Antechambers are often found in large buildings, homes, or mansions. They are also very common in palaces and crypts. In a theme park, an antechamber may be used to tell guests about a ride before they experience it.
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Movement between the house and street required a 90° turn through a small antechamber. From the street only the rear wall of the antechamber would be visible through an open door, likewise there was no view of the street from the courtyard. The Sumerians had a strict division of public and private spaces. The typical size for a Sumerian house was 90 m2.
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View from the antechamber View from the domed main chamber Golyama Arsenalka mound is a Thracian burial tumulus with a subterranean stone building near the Bulgarian town of Shipka. It dates from the end of 5th century BCE. It is composed of a representative façade, a small antechamber and a domed chamber. The entrances have been closed with double stone doors.
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This antechamber once had a roof, supported by six columns, but only the columns and walls remain. Beyond the antechamber is the main room, where priests burned incense, made sacrifices and performed other rites. Behind the main chamber are the living quarters of the Zapotec priests. Walls throughout this building are covered by intricate mosaic fretwork, and murals depicting mythological scenes and characters.
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The temple has a long and wide entry corridor and an antechamber, a semi-cylindrical room supported by an elegant column. The top of this column has the form of a knucklebone. Four horses and two dogs were sacrificed in the antechamber. The central room is circular in shape, supported by a beautiful polished Doric column ending with a large disc symbolizing the sun.
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The entrance to the tomb leads to the antechamber, which has a doorway to the main chamber opposite the entrance. The wall frescoes of the antechamber show figures which are almost naked, apparently partaking in a Dionysian ritual dance. They are in a grove which is decorated with ribbons, wreaths, mirrors and cistae. Reclining satyrs with rhytoi appear in the gable of the entry wall.
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To the west of this room was the President's Antechamber (later known as the Red Room). This room originally had two doors, set close together, leading into the Blue Room. (The one on the north was false.) Beginning in 1809, it became the music room for the White House. During the 1817 rebuilding of the White House, the President's Antechamber was turned into a Yellow Parlor.
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Carmack 2001a, p.375. The ' are long rectangular structures located beside the plazas upon high platforms. Upon these platforms, the palaces generally consisted of two levels, a lower roofed antechamber with a second, higher level supporting the main rooms of the structure. Some of the larger palaces had several stairways giving access to the antechamber, and multiple doors and pillars opening into the rooms of main building.
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Antechamber Bay is located within the federal division of Mayo, the state electoral district of Mawson and the local government area of the Kangaroo Island Council.
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The entry leads into a long vertically sloping corridor inclined at 22° that leads to a vestibule at its bottom. The vestibule is long and wide. From the vestibule, a long horizontal passage follows a level path to the antechamber and is guarded by three granite slab portcullises in succession. The passage ends at an antechamber, a room measuring by , located under the centre axis of the pyramid.
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The Antechamber of Charles III (The Conversation Room) also contains a ceiling fresco by Mengs, The Apotheosis of Hercules. This room has four royal family portraits by Goya.
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The tomb consists of four sections: the antechamber, the hall of columns, a second hall, and the shrine. The entrance to the tomb was originally decorated with inscriptions to the Amarna Royal family and the deity Aten. These decorations have either been destroyed, or are hidden by the modern doors protecting the tomb entrance. The antechamber itself shows Meryre offering prayers to the Akhenaten, and the cartouches of the king, Nefertiti and the Aten.
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Inside the grotto, the antechamber and corridor represented the earth while the rotunda represented heaven. The basic layout of the grotto includes an arched entrance which leads into a rectangular antechamber and then a narrow corridor, which is lined with bas-reliefs, and then finally leads into the main rotunda. The centerpiece of the granite sanctuary is a Buddha statue seated in the main chamber. The identity of the Buddha is still debated.
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The wall of the chamber, six meters in diameter, is still about a meter high. It is believed that the dead were deposited in a seated position, accompanied by various artifacts and food. The chamber, aisle and antechamber together have a length of 9.7 metres. At the entrance, the remains of a wall of limestone blocks on both sides of about 2.70 m in length are interpreted as the remains of the antechamber.
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They are now displayed in a special antechamber, built to the same dimensions as the boardroom in which they first existed. Perehudoff died on February 26, 2013 at age 94.
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Red Jacket SABCTV. Retrieved on 12 September 2012 In 2011, the film was projected in a small antechamber at the South African National Gallery as part of a Tretchikoff exhibition.
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The antechamber was furnished with a stone mantelpiece (with a mirror above), an Empire crystal chandelier, a stone flowerpot standing on a fluted column and Neo-Renaissance table with chairs.
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Modern Bethany , by Albert Storme, Franciscan Cyberspot."Sacred Destinations" . The steps enter the antechamber (3.35 m long by 2.20 m wide) through the north wall; the outline of the former entrance via the mosque can still be seen on the east wall. The floor of the antechamber is two steps above the floor level of the mosque, possibly due to rock falls from the soft limestone ceiling during construction of the Crusader-era church above the tomb.
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The Crusaders strengthened the tomb itself with masonry, which obscures most of the original rock surface (except for a few holes). The alignment of the tomb and antechamber suggests they predate the Byzantine churches and may very well be from the time of Jesus. Three steps connect the antechamber with the inner burial chamber (which measures a little more than two square metres in size). It contains three funerary niches (arcosolia), now mostly hidden by the Crusader masonry.
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The tomb consists of a monumental facade and two vaulted chambers (an antechamber and a burial chamber), covered over by an earthen tumulus 2.5 m high and 15-17 m in diameter.
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The masonry core has been exposed in the other chambers, and consists of crudely cut blocks and small limestone chips that were piled up to form the substructure of the pyramid. The wall separating the antechamber and burial chamber has been total demolished. The substructure has been subject to significant on-going restoration work, particularly the consolidation of the pyramid's core and the walls of the antechamber and serdab. Djedkare's sarcophagus originally sat near the west wall of the burial chamber.
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The tomb consists of two vaulted chambers, an antechamber and a burial chamber on a north-south axis, entered from the south, and covered over by an earthen tumulus. The antechamber is 0.89 m wide and 0.86 m long. The walls are painted with pilasters, decked with garlands, support an architrave with guttae. This 'architectural style' of the wall paintings may be the earliest surviving example of "perspective" and is seen by Stella G. Miller as a precursor of the Pompeian second style.
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The entrance to the burial chambers is on the north face which descends to a vestibule where another shaft leads to the antechamber. To the right of the antechamber is the burial chamber; to the left is another small room, a serdab. In the burial chamber a sarcophagus decorated with polychrome reliefs stood against the wall; when found, it was in good condition although it had been plundered. The ceiling of the burial chamber had an astrological theme and was covered with stars.
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Antechamber, former dressing room of the Queen The Antechamber was on the first floor of the Baroque wing and was situated next to the "circle" tearoom with two windows opening on to the Danube. In the Baroque era it was called Ankleide- Zimmer Ihrer Majestät der Kaiserin ("Her Majesty the Empress' Dressing Room") and was part of Maria Theresa's private apartments. It was connected to another small room, the Frauen Kammer. In Hauszmann's time the walls were largely clad with wallpaper.
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Map of QV66's layout A flight of steps cut out of the rock gives access to the antechamber, which is decorated with paintings based on Chapter 17 of the Book of the Dead.Alberto Siliotti, Kemet: temples, people, gods,1994 This astronomical ceiling represents the heavens and is painted in dark blue, with a myriad of golden five-pointed stars. The east wall of the antechamber is interrupted by a large opening flanked by representation of Osiris at left and Anubis at right; this in turn leads to the side chamber, decorated with offering scenes, preceded by a vestibule in which the paintings portray Nefertari being presented to the gods who welcome her. On the north wall of the antechamber is the stairway that goes down to the burial chamber.
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Tomb KV34 in the Valley of the Kings (near the modern-day Egyptian city of Luxor) was the tomb of 18th Dynasty Pharaoh Thutmose III. One of the first tombs to be dug in the Valley, it was cut high in the cliff face of the furthermost wadi. A steep corridor leads down, in a dog-leg shape, from the entrance past a deep well to a trapezoidal antechamber. Beyond the antechamber lies the cartouche-shaped burial chamber, off which stand four smaller side chambers.
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The two parts of the second sarcophagus chamber were designed to be separated by a fourth and last portcullis, still open. It is peculiar for having the order of the “antechamber” and the sarcophagus-vault swapped: The sarcophagus-vault is entered before what would customarily be the “antechamber”, which holds the lid of the sarcophagus and would have been sealed off by the wall formed by the portcullis, once in place. This strange layout is also unexplained, perhaps reflecting some unknown reason of religion or tradition.
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The architrave was originally supported by two pillars, fragments of which were found in the excavations. The tombs are arranged on two levels around a central chamber, with four rooms upstairs and three rooms downstairs. The central chamber itself is entered from the courtyard via an antechamber that goes down into a dimly lit maze of chambers. The access from the antechamber to the exterior courtyard could be sealed closed by rolling a round stone across it, and the stone still remains in-situ.
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In the antechamber, there are depictions of owls and people along with the date of Five Flower. The objects found in these tombs are now on display at the National Museum of Anthropology in Mexico City.
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Joye waited for several days in Wolsey's antechamber to be received by the Cardinal, and witnessed the interrogation of Bilney and Arthur, which made him realize that it was safer for him to flee to the Continent.
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The Jade Buddha Chamber is in the northern section of the temple, on the second floor. A fee of 10 yuan is charged to ascend to it. Some additional Buddhist sculptures are also viewable in the antechamber.
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On 7 November 1669 she was received into the Académie royale de peinture et de sculpture. She began working in the royal workshops, notably at the Palais des Tuileries, where she painted four canvases for the antechamber to the Grand appartement du roi, but also at the Versailles, where she painted for the antechamber of the Grand appartement de la reine. Madeleine Boullogne lived an austere and pious life, teaching many students, remaining unmarried and living with her brother Bon. Marked by a strict Augustinism bordering on Jansenism, she lived a semi- monastic life.
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Painting of armour and arms on the rear wall of the antechamber. Painting of cuirass on the front wall of the antechamber The Tomb of Lyson and Kallikles is an ancient Macedonian tomb of the Hellenistic period in Mieza (modern Lefkadia, near Naousa, Imathia), noted for the quality of its painted decoration. The tomb was originally built for the brothers Lyson and Kallikles, sons of Aristophanes, around 250 BC and it continued to be used by their descendants for around a century, going out of use around time of Roman conquest.
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Facade of the tomb Painting of an old man and woman in the tympanum of the facade. Detail of the palmettes on the ceiling of the antechamber, which give the tomb its name. View into the burial chamber from the antechamber The Tomb of the Palmettes (), sometimes known as the Rhomiopoulou Tomb, is an ancient Macedonian tomb of the Hellenistic period in Mieza (modern Lefkadia, near Naousa, Imathia), noted for the quality of its painted decoration. It was built in the first half of the third century BC.
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The second was intended for the Grand Master of France, but was later sold to Ottaviano de' Medici instead and may be the one now in the Worcester Art Museum. The Palatine Gallery work was the central one in the decoration of the antechamber in the Palazzo Benintendi. The other works in the antechamber were Pontormo's Adoration of the Magi, Franciabigio's Bathsheba Bathing (Gemäldegalerie, Dresden) and Bacchiacca's Legend of the Dead King's Son (Gemäldegalerie, Dresden) and Baptism of Christ (Gemäldegalerie, Berlin). Elisabetta Marchetti Letta, Pontormo, Rosso Fiorentino, Scala, Firenze 1994.
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His case has been heard by the > Ennead and he has nothing, he has no house. He is one accursed, he > is one who eats his own body. > – Pyramid Text 534 The west and south walls of the antechamber are inscribed with texts whose core theme revolves around the transition from the human to the celestial realm. The north wall contains two groups of texts: those concerning the king's ascent to the sky, which don't otherwise appear in the antechamber of other pyramids, and those concerned with the king's transformation into Horus.
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A bust of Judge McAnulty was unveiled in the rotunda of the State Capitol in Frankfort, Kentucky, on February 11, 2010.kentucky.gov The bust is located in the antechamber to the Supreme Court courtroom in the State Capitol.
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390px Detail Adoration of the Magi is a c.1522-1523 oil on panel painting by Pontormo, produced for the antechamber of Giovan Maria Benitendi's palazzo in Florence and now in the Galleria Palatina in the same city.
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One tradition places the tomb of Lazarus to the right of the entrance, which was formerly closed by a horizontal stone. Tradition also says that Jesus was standing in this antechamber when he called Lazarus from the grave.
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First, sixteen cards are dealt to form a square. These compose the reserve, or "antechamber." On the other hand, the space inside the square is called the "audience chamber." This is where twelve cards are to be placed later.
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Antechamber of the Small Apartment Fresh; 8. House; 9.Cabinet. The old "Cour des Offices", or "Basse Cour", was transformed by Monseigneur to create luxurious ceremonial rooms. The entire annex then took the name of "Wing of the Marronniers".
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Retrieved June 7, 2014. Inside of the gate, there lies a pond with an arch bridge upon. Go across the bridge and there lies the antechamber, the adytum, two side halls and the Dacheng Hall (the hall of great achievement).
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The bathing complex is arranged around a central rectangular hall and included a frigidarium with an antechamber, a tepidarium, and a caldarium. The frigidarium is paved with a figural mosaic depicting a personification of Ktisis (Creation) holding an architect's ruler.
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All cards in the antechamber are available for play. After the cards are dealt, the King and Queen of each suit, whenever both are available, are placed inside the audience chamber, never to take part in the rest of the game. Also, the Jack and the Ace of each suit, whenever they become available at the same time, are placed inside the audience chamber with the Jack on top; these two become the foundation, to be built down by suit to deuces (twos). There is no building among the cards in the antechamber; they are only available for play to the foundations.
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In 2001 Bulgarian archaeologist Georgi Kitov led a rescue excavation of the tomb, discovering a round chamber of about in diameter, accessible through a small antechamber and a tunnel, approximately long. Both the antechamber and main chamber are decorated with well-preserved frescoes that reflect the artist's knowledge of Late Classical and Early Hellenistic art.Theodossiev, Nikola, "The tholos tomb at Alexandrovo: Thracian funerary paintings in a broader context" , 2005 The fresco in the main chamber depicts a hunting scene where a boar is attacked by a mounted hunter and a naked man wielding a double-axe.
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Squid halide peroxidase is the main enzyme responsible for crafting this microbiocidal environment, using hydrogen peroxide as a substrate, but A. fischeri has evolved a brilliant counterattack. A. fischeri possesses a periplasmic catalase that captures hydrogen peroxide before it can be used by the squid halide peroxidase, thus inhibiting the enzyme indirectly. Once through these ciliated ducts, A. fischeri cells swim on towards the antechamber, a large epithelial-lined space, and colonize the narrow epithelial crypts. The bacteria thrive on the host-derived amino acids and sugars in the antechamber and quickly fill the crypt spaces within 10 to 12 hours after hatching.
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The temple was used for a funeral of a ruler or a nobleman. It was robbed of its valuables in antiquity, but parts of a gilt breast plate, two small gold ornaments, and bones of horses were found during excavations in the antechamber.
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The design recalls wall painting in houses from the same period that have been excavated in Pella and Delos. The grave goods included a wooden couch with ivory elements, most notably a small sculpture of a woman, which was found in the antechamber.
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The tomb was robbed way back in ancient times. In the antechamber a horse skeleton in anatomical order was discovered. Another horse skeleton was found in front of the corridor's east wall head. The monument dates back to the 4th century BC.
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I had faced death, so > close. My father, my brother, my cousins, my uncles, executed, all Romanov's > blood splashed on my adolescence. This gave me a taste for sad things, > poetry, the icy and lightning antechamber of death. Soon, my classmates > understood me.
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The door jambs are inscribed with funerary prayers for Akhenaten and the Aten. The entrance from the antechamber to the outer hall is decorated with the Short Hymn to the Aten, and shows Meryre's wife Tenre making offerings to the sun-disc.
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Ballroom An antechamber leads into the Napoleonic Gallery which runs across the end of the Piazza San Marco. Comprising a Ballroom, Throne Room and Banqueting Hall, this is the core of the public area of the palace, exhibiting artworks by Antonio Canova.
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Now it is kept in antechamber of the temple. On the left to the choir in the monastery church there is the icon of St. Dimitry of Rostov, the patron of Don. It has and integrated reliquary with the relics of the saint.
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The temple layout consists of a garbhagriha (Nijamandira or Harigraha) and an antarala (an antechamber). It is conjectured that this temple location is 2,500 years old where Krishna had built his city and a temple. However, the existing temple is dated to 16th century.
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The idea of a grotto was originally a means to enhance a dank undercroft, or provide an antechamber before a piano nobile, but later it became a garden feature independent of the house, sometimes on the edge of a lake, with water flowing through it.
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The tomb consists of two vaulted chambers: an antechamber and a burial chamber and a disproportionately large monumental facade. The structure was covered by an earthen tumulus, which was 1.5 m high and had a diameter of about 10 m; it was removed during excavation.
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Visitors to the Ohel customarily light candles on shelves in the antechamber. Candles are available at the visitor's center. Visitors also write letters to the Rebbe beforehand and read them quietly beside the graves, then rip them up and leave them on the graves.
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The derivation of the word is obscure. It may be derived from vassi ad valvas (at the folding- doors, valvae), i.e. servants of the royal antechamber. Du Cange regarded it merely as an obscure variant of vassus, probably from vassus vassorum "vassal of the vassals".
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In Orthodox and Byzantine church architecture, the temple antechamber is more commonly referred to as an exonarthex. In early Christian architecture, the vestibule replaced the more extravagant atrium or quadriporticus in favor for a more simple area to house the vase of holy water.
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Hardy (1995), p.320 The temple which faces east comprises a sanctum (garbhagriha), an antechamber (or vestibule or antarala whose tower is called the sukhanasi) that connects the sanctum to a gathering hall (sabhamantapa) which is preceded by a main hall (mukhamantapa). The walls of the shrine and the sabhamantapa are articulated with projections and recesses creating niches which carry miniature decorative tower or turrets (Aedicula) in vesara style (a fusion of south and north Indian styles). The doorjamb of the sanctum and antechamber are crafted with decorative motifs, and the lintel (lalata) depicts Gajalakshmi (the Hindu goddess Lakshmi flanked by elephants on either side).
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The Memorial Chapel consists of an antechamber and tower, museum room and chancel. Typical of the ecclesiastical architecture of the region, it is Romanesque in design. The exterior of the memorial is constructed of local La Pyrie granite. At its east end is a sculpture group.
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Two small oval windows were removed and replaced by three windows in stone. Small apertures were made in the towers. The antechamber was marbled and ornate panels decorated the area in front of each door. Leveville On the Wing The château was plundered during the Second World War.
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This would be lowered on the vault on draining the sand.Dieter Arnold: Building in Egypt: Pharaonic Stone Masonry, 1997, Oxford University Press, , excerpts available online. After draining all the sand, the workmen escaped through the corridor which they filled with masonry and paved over its opening in the antechamber.
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In front of the stairs of the north building is a cross-shaped tomb with an antechamber. The ceiling has large beams made of stone, and the walls are decorated with tablets and stone fretwork. The east building is characterized by a monolithic stone column that supports the roof.
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103 Dodson also writes that Psusennes II's royal status was confirmed when Jean Yoyotte realized "that a batch of crude faience shabtis bearing the name of a [king] Pasebkhanut (i.e., Psusennes) found in the antechamber of Tanis [Tomb] NRT-III did not belong to the tomb's original owner, Pasebkhanut I, as had originally been assumed, but to the later king of the [same] name."Jean Yoyotte, L'Or des pharaons, Paris, 1987, 136-7 [19]Dodson, pp.103-104 This means that Psusennes II's long-decayed coffin and mummy is located in the debris of this antechamber of Psusennes I's Tanis tomb where Heqakheperre Shoshenq II's coffin and mummy mask was also discovered.
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The only time that Ezra is free of the Dark Hunter's influence is when it is asleep. Ezra appears to have a limited time that he is able to spend in the Antechamber of Mystery as he tells Kylar that restoring the arm that he lost will cost him time. He also refers to it when telling Kylar how he can appear to him outside of the Antechamber of Mystery. It also seems that Ezra can trade some of his remaining time in order to give extra time to those who pay the Ka'kari's price for bringing Kylar back to life (the fact that one of Kylar's loved ones die each time he perishes as the Night Angel).
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She was buried at the Royal Crypt in El Escorial. She was joined by her devoted husband in 1788. In 1761, Charles commissioned Giovanni Battista Tiepolo to paint frescoes for the Royal Palace in Madrid. In the Queen's Antechamber, Tiepolo and his assistants painted the Apotheosis of the Spanish Monarchy.
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The antechamber is more pronouncedly Rococo in character, with exotic, Chinese wallpapers, a testimony of Claes Grill's work at the Swedish East India Company. The furnishings are here also richer. The parade bedroom is to a certain degree a reconstruction, with furniture from the time. Here also the wallpaper is Chinese.
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Dabaotai represents this transition period. An iron axe found inside the tomb was stamped with the character 渔 for Yuyang, the name of the county near Guangyang where the item was made. Inside the tomb, the chambers are well preserved. In Liu Jian's tomb, the antechamber replicates the master's sitting room.
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Pauline Chapel. The Sala Regia (Regal Room) is a state hall in the Apostolic Palace in Vatican City. Although not intended as such, this broad room is really an antechamber to the Sistine Chapel. It also connects to the Pauline Chapel and is reached by the long staircase known as the Scala Regia.
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The lower half of the facade consists of four Doric columns in antis. The doorway to the antechamber is in the central intercolumniation. The tomb is best-known for the four paintings in the lower half of the facade. These are located in the upper part of the spaces between the Doric columns.
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Behind the south gallery are the Writing Cabinet and Antechamber of Elector Charles Theodore, which were created with the widening of the gallery wings. In both the North and South Galleries next to the Central Pavilion are vedutes of Bavarian castles. These galleries connect the central pavilion with the southern and northern pavilions.
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The tunnel ends in the antechamber where the Stone Table resides. A trough containing a flammable substance is used for lighting. On the back wall of the chamber is a relief carving of Aslan. The Table chamber is the location for Caspian and the Pevensies to meet to discuss the plan for battle.
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Scene One: London. Antechamber of the Queen's apartments The guards note that even Jane Seymour has stayed away from Anna. Anna enters with a retinue of ladies, who tell her to place her trust in heaven. Hervey enters and says that the Council of Peers has summoned the ladies into its presence.
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Rash of violence disrupts San Quentin's death row. New York Times, May 22, 2001. Accessed January 13, 2009. as of 2005, it was called "the most populous execution antechamber in the United States." The states of Florida and Texas had fewer death row inmates in 2008 (397 and 451 respectively) than San Quentin.
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The interior space of the Prince's tomb at is larger than that of the Qianlong Emperor's tomb, which is only . Inside each tomb is an antechamber, burial chamber, storeroom and connecting passageways. The tomb's ceiling and floor are lined with charcoal and plaster. The plaster acts as a seal against outside air.
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The good preservation of the texts in Unas' pyramid shows that they were arranged so as to be read by the Ba of Unas, as it arose from the sarcophagus thanks to resurrection utterances and surrounded by protective spells and ritual offerings. The Ba would then leave the burial chamber, which incorporates texts identifying the king with Osiris in the Duat, and would move to the antechamber symbolizing the Akhet. Included in the spells written on the walls of the antechamber of Unas are two utterances known as the Cannibal Hymn, which portrays the pharaoh as flying to heaven through a stormy sky and eating both gods and men. In doing so the king would receive the life force of the gods.
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The east wall of the antechamber is interrupted by a large opening flanked by representation of Osiris at left and Anubis at right; this in turn leads to the side chamber, decorated with offering scenes, preceded by a vestibule in which the paintings portray Nefertari presented to the deities, who welcome her. On the north wall of the antechamber is the stairway down to the burial chamber, a vast quadrangular room covering a surface area of about , its astronomical ceiling supported by four pillars entirely decorated. Originally, the queen's red granite sarcophagus lay in the middle of this chamber. According to religious doctrines of the time, it was in this chamber, which the ancient Egyptians called the golden hall, that the regeneration of the deceased took place.
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Tomb layout of KV43 A – Entrance B – Corridor C – Steps D – Corridor E – Well shaft F – First pillared hall G – Steep corridor H – Steps I – Antechamber J – Burial chamber Ja–Jd – Storerooms Isometric, plan and elevation images of KV43 taken from a 3d model The tomb follows on from the design and layout of KV35 but is more precise in its cutting and alignment. The first three corridors end in a deep well with a chamber at the bottom. The axis then turns 90 degrees with the first pillared hall which leads, with stairs and a sloping corridor, to the antechamber and burial chamber. In a departure from KV35, the far end of the burial chamber is lowered to form a "crypt" for the sarcophagus.
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All are clad in Art Nouveau wallpapers. Charlotte's antechamber is adorned with hunting trophies, some bearing her monogram, acquired between 1899 and 1917. Her drawing room is lined with Renaissance wood paneling and contains six 17th and 18th century Dutch paintings. On the west wall is an additional painting, by , of , where Charlotte grew up.
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A passage at the far end of West Chamber links through to the bottom of Maskhill Mine. The fourth pitch, which is a climb in the West Antechamber wall, reaches a crawl heading north away from the vein into the New Oxlow Series and the long, very tight and wet connection to Giant's Hole.
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The hollows in the doors suggest that bronze rings were originally attached to them. The access to the tomb chamber is marked with a distinct slope and also drops downwards in the height. An arched passage (Dromos) leads down to the first antechamber. The corridor is built of stone blocks that were once plastered.
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The upper part of the four square pillars are circular. It is connected to an antechamber and the sanctum. The sanctum is dedicated to Shiva linga, while a near life-size Nandi sits facing the sanctum inside the shrine. On the lintel to the sanctum is carved another Gajalakshmi (Lakshmi with two elephants spraying water).
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After the entrance there is an antechamber, which leads to a rectangular room surrounded by cylindrical stalagmites which were probably worshipped by the pilgrims. At the cave's mouth there is a square, known as "The Square of Altars". This courtyard may have been used in ceremonies. The cave remained in use until late Roman times.
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Their weight varied between 800 and 1,000 kg. The tomb consisted of a large main chamber and a small open antechamber. They were separated by a large sandstone slab with a circular hole, similar to the one at Züschen. This so-called Seelenloch (German for "soul hole") had a diameter of 30–35 cm.
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Rotunda, North side The antechamber at the head of the grand staircase provides a formal approach to the legislative chamber."The Rotunda ", at the Legislative Tour, Province of Manitoba. 8 Corinthian columns rise from the floor to the cornice surrounding the base of the dome. Between each pair of columns are busts of Hermes.
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The Salon of Abundance was the antechamber to the Cabinet of Curios (now the Games Room), which displayed Louis XIV's collection of precious jewels and rare objects. Some of the objects in the collection are depicted in René-Antoine Houasse's painting Abundance and Liberality (1683), located on the ceiling over the door opposite the windows.
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The antechamber has a straight stone facade and the burial chamber is formed from a number of large stones, with one lintel stone in place. There is an outer kerb of closely spaced boulders (with over 25 stones in place) and the space between the kerb and the burial chamber is filled with cairn material.
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Moylisha Wedge Tomb consists of a rectangular cairn 13 m × 10 m incorporating a gallery 7.5 m in length aligned NW–SE. The gallery consists of a small antechamber separated by a low sill from the main chamber 6 m in length which widens toward the southeast. A single displaced roofstone lies in the gallery.
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2.25 m above the floor. Above this is an upper chamber which is accessible from the upper part of the antechamber. It is slightly shorter (7.10 m) and narrower (1.90 m) than the lower chamber, with a similar although much lower (0.85 m) ceiling of horizontal slabs. These have holes in them, presumably for ventilation.
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The outer ring rooms are partitioned vertically into separate households, each household partition has its own set of staircases not shared by other families; some partition has a frontal width of 3 rooms, others has width of 4 rooms. The partition of the inner ring is attached to the partition of the main ring via covered veranda as antechamber.
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A passage leads from the forecourt to the 1.5 meter long and 3 meter wide antechamber of the tomb. The burial chamber, measuring 3 by 4 meters, was protected by heavy doors. In order to be able to open them more easily, there was a mechanical device. The doors can be seen in the Louvre in Paris.
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The forecourt, the antechamber and the tomb chamber are covered by a common vault. It is assumed that a couple was buried in the grave. A couch, which probably belonged to the man, was guarded by a dog, the second couch by the snake. The tomb chamber was plastered and painted; there are hooks to attach burial objects.
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It is 8 PM in the Manhattan office building of mogul Daniel Weisinger. Nick and Vince, both in their mid-to-late 20s, assist Weisinger in his hectic workplace. Their disorganized antechamber, filled with folders and numerous, constantly ringing phones, is adjacent to Weisinger's luxurious office. Beside Vince's desk is a box with all of his belongings.
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The cave is about 300 m long and contains ten separate halls. Visitors enter through the Antechamber, then pass through several smaller passages into the Concert Hall. Visitors then pass through several more smaller passages, eventually emerging in the White Hall. The largest gallery is known as the Great Temple, with a ceiling of 15 m (50 ft).
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Temple III is built onto the rear of Temple II and is not visible from the outside. It consists of a small central shrine and an antechamber. Temple IV is entered from the west side and has the richest decorations. Constructed in the Chenes style, the temple's façade represents the mask of Chaac, whose jaws serve as the door.
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Tripoli then was under Ottoman ruler Pasha Yusuf Karamanli, whose reign extended from 1795 to 1832. The Gurgi Mosque was built by the command of the naval captain Mustafa Gurgi. Gurgi is an Arabic word which means "from Georgia". To the right of the entrance lies the antechamber which houses the tombs of Gurgi and his family.
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This intervention so enraged the majority of the regenten, led by burgemeester Dedel, that they immediately moved to reject the proposal, and even demanded the dissolution of the "Legion of Salm". This elicited a strong reaction from the schutterij on 26 February when an even larger group of officers forced their way into the antechamber of the Council Chamber.
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Architecture of Khajuraho temples with the antarala between the shikhara and the mandapas Antarala (Sanskrit: अन्तराल, lit. intermediate space) is a small antechamber or foyer between the garbhagriha (shrine) and the mandapa, more typical of north Indian temples. Antarala are commonly seen in Chalukyan Style temples in which the 'Vimana' and the 'Mandapa' are connected through the 'Antarala'.
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237, Del Burgo 1992, p. 494 On December 20 he accompanied Fal in his journey from Toledo to Franco's Salamanca headquarters but was left in antechamber"antesala" or "antedespacho", Peñas Bernaldo de Quirós 1996, p. 239, Del Burgo 1992, pp. 495-496 when Dávila presented Fal with an alternative of either exile or the firing squad.
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A large marble door to burial chamber, decorated with discs, handle and head of Medusa, all covered in gold, led to the burial chamber. It is now in the Istanbul Archaeological Museum. The burial chamber is 4.07 m wide, 5.08 m long, and 5.29 m high. The walls are even thicker than those of the antechamber, measuring 1.25 m.
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The floor of the tomb is plastered, and the walls of the antechamber and the other rooms were covered with a coating. Through the horizontal and vertical grooves, they were covered by large marble blocks. The chamber had a stone door that locked from the inside. Opposite the entrance, a ritual stone bed was located in the room.
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The jalousie windows also feature wooden frames. A stained-glass antechamber leads from the yard to the interior of the house. The lobby, which includes a French fireplace and a bust of Atatürk, leads to the dining room and to the biggest of the three salons. The remaining rooms include a winter garden and Atatürk's former office.
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The antechamber and the chamber are completely and perfectly preserved. They have a common spatial solution and uniform construction - large, well-processed blocks, soldered with lead inundated iron clamps. The walls are covered with thick lime plaster - an imitation of stone construction by means of deep horizontal and vertical grooves. The plastering refers at least to two construction periods.
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Shushmanets temple - inside view The temple in the Shushmanets mound was discovered on 28 August 1996. The temple consists of a corridor, a façade, an antechamber and a circular chamber. It was built in a previously mound earth-deposits. The corridor's walls were built from river and crushed stones, with a total of two construction stages.
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Charity, by Andrea del Sarto, Musée du Louvre. In the chamber of Louis XIV At the end of the 19th century, Louis XIV's apartment consisted of an antechamber, a royal chamber, a small passageway to the rear, That of a "cabinet of the mirrors of the King", which had a balcony allowing to admire the view on Paris.
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Jane admits that she is to be the successor. Anna tells her to leave, but says that Henry VIII alone is the guilty one. Jane leaves, deeply upset. Scene Two: Antechamber leading into the hall where the Council of Peers is meeting Hervey tells courtiers that Anna is lost, because Smeaton has talked and has revealed a crime.
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Vijayanagara temples are usually surrounded by a strong enclosure. Small shrines consist simply of a garbhagriha (sanctum) and a porch. Medium-sized temples have a garbhagriha, shukanasi (antechamber), a navaranga (antrala) connecting the sanctum and outer mandapa (hall), and a rangamantapa (enclosed pillared hall). Large temples have tall Rayagopuram built with wood, brick and stucco in Chola style.
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In the winter, people may roll in the snow or jump into the water through holes in the ice. After two or three sessions of sweating and cooling off, the ritual ends with drinking beverages or tea, playing games or relaxing in good company in an antechamber off the steam room.Aaland, Mikkel (1998). The Russian Bania.
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To the east, a doorway leads to a room called the serdab with three recesses. The serdab measures wide and deep. To the west lay the burial chamber, a room measuring by , containing the ruler's sarcophagus. The roof of both the antechamber and burial chamber were gabled, in a similar fashion to earlier pyramids of the era.
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Three stones just before the sill stone form an antechamber backfilled with earth and stones. Radiocarbon dating indicates that the tomb was probably in use as a burial site between 3,800 and 3,200 BC. The findings are now at the Clare Museum, Ennis, loaned from the National Museum of Ireland.Carthy (2011), p 136Poulnabrone Collection. Clare County Museum.
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All three are aligned along an east–west axis. The only peculiarity of the serdab is the size of the block ensuring its coverage, measuring 6.72 metres long with a weight of forty tons. The antechamber and burial chamber are covered with huge vaulted rafters. They are connected by a passage where access was closed by a double door.
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By February 1923 the antechamber had been cleared of everything but two sentinel statues. A day and time were selected to unseal the tomb with about twenty appointed witnesses that included Lord Carnarvon, several Egyptian officials, museum representatives and the staff of the Government Press Bureau. On 17 February 1923 at just after two o'clock, the seal was broken.
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A Large Attendance In The Antechamber is a one-man play by Brian Lipson about Francis Galton the English scientist, statistician and founder of the eugenics movement. The play was first seen in Melbourne in 2000, and has since been performed in the UK, United States and New Zealand, both in theatres and in private homes.
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Court tombs are considered to be a specific type of chamber tomb found principally in Scotland and Ireland. More than 400 examples are known in Ulster, Connacht, and the southwest of Scotland. The cruciform main chamber and the antechamber of the court tomb of Behy are very large. Above the 2 meter high chamber lie two capstones.
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The walls of this corridor are decorated with Pyramid Texts. It is followed by a funerary antechamber on an east–west access and located under the very centre of the pyramid. The burial chambers were by a vault of eighteen massive stone blocks, arranged in chevrons. The ceiling of this vault was painted blue and covered with golden stars.
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In all, the tombs have 11 horses and three chariots. One of the chariots, painted black and red, is adorned with gold- plated hardware. Scattered throughout the outer parts of the tomb are terra cotta clay figurines of maid servants. Eight ivory pieces from a liubo game set were found in the antechamber and inner hallway.
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The tomb itself is a heptagonal building constructed out of local sandstone. It has a lower rectangular antechamber and is covered by a hemispherical dome in height. Demir Baba's grave lies in the middle of the heptagonal inner premises. Constructed out of bricks and wood, the sarcophagus is in length and is positioned with the saint's head pointing southwest.
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In 1523, he again participated with Andrea del Sarto, Franciabigio and Pontormo in the decoration of the antechamber of Giovanni Benintendi.La France 2008, 174-80, cat. 32-33 While he established a reputation as a painter of predellas and small cabinet pictures, he eventually expanded his output to include large altarpieces, such as the Beheading of St. John the Baptist, now in Berlin.
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The tomb of the young king (KV62) was uncovered almost untouched in the Valley of the Kings in West Thebes by Howard Carter on 4 November 1922. The lotus chalice was one of the first objects which Carter and his excavators found on entering the tomb; the vessel was on the floor immediately inside the antechamber. This was not its original position.Jaromir Malek.
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Lange Voorhout Palace in The Hague Queen Juliana, Princess Irene, and Prince Bernhard at the balcony of the palace on Prinsjesdag (1959) Main staircase (1937) The left antechamber, on the middle floor (1967) Lange Voorhout Palace ( ) in The Hague was designed in 1760 by the architect Pieter de Swart for Anthony Patras (1718-1764), a deputy to the States General of the Netherlands.
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The walls of the tomb's entrance corridor are made of stone. After this corridor an antechamber is followed by a rectangular chamber with a unique covered ceiling. The ceiling is bent by the walls of both rooms, crossed by a horizontal zone. This marks the transition from the double-pitched, to the semi-cylindrical, ceiling of chambers in Thracian architecture.
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The interior of the structure is made up of two separate barrel-vaulted structures. The antechamber is unusually large: 6.5 m wide, 2.12 m long and 7.7 m high. This is because it is built to match the monumental scale of the facade. The chamber seems to have been unpainted, but it was severely damaged in antiquity and has not been fully excavated.
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Buddhist caves of Prabhas Patan are simple in design and only two in number. These two caves are believed to a part of Buddhist vihara from the 3rd and 4th century AD. Each is about 8.7 m x 9.45 m, and 2.5 m high with four square pillars. An opening connects them at the rear. The eastern cave has an antechamber.
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Jorsin Alkestes' friend and a mage almost as powerful as (and probably more skilled than) Jorsin. Ezra vanished in the Iaosian Forest which was later called Ezra's Wood, battling the Dark Hunter. He became immortal and resides in the Antechamber of Mystery where the bearers of the black ka'kari come after being killed. His battle against the Dark Hunter continues.
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The college motto, Vera Fictis Libentius, was taken from the inscription of the 1875 statue of Lord Macaulay in the antechamber of the chapel of Trinity College, Cambridge. In the early eighties, a competition was held to name the horse. Its eventual name, Vera, stems from a student innocently assuming that the college motto, Vera Fictis Libentius, was referring to the horse.
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At the 2011 census, the Dudley Peninsula had a population of 595 with 276 persons located in Penneshaw and the remaining 319 located on the remainder of the peninsula, being the localities of American Beach, Antechamber Bay, Baudin Beach, Brown Beach, Cuttlefish Bay, Dudley East, Dudley West, Ironstone, Island Beach, Kangaroo Head, Pelican Lagoon, Porky Flat, Sapphiretown, Willoughby and Willson River.
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The atrium serves as a one-way antechamber, sends blood to the third part, ventricle. The ventricle is another thick- walled, muscular chamber and it pumps the blood, first to the fourth part, bulbus arteriosus, a large tube, and then out of the heart. The bulbus arteriosus connects to the aorta, through which blood flows to the gills for oxygenation.
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The Kispu was important for demonstrating the legitimacy of the king, thus it needed to be public and visible to a large crowd; Pfälzner suggests that hall A in the royal palace was the place for the public Kispu and that the antechamber of the royal hypogeum was dedicated for private Kispu that included only the king and the spirits of his ancestors.
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It is mentioned for the first time in 1126 as a Romanesque building, which was replaced two centuries later by the current structure. Although internally renovated in the 17th-18th centuries (when the entrance was moved to the former apse antechamber), it has maintained the original square tower, in brickwork, which has several similarities with the Mudéjar towers in Teruel.
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In 1931 the dome was damaged during another earthquake. In 1949, the roof and the walls of the church were repaired. In 1998 the roof and drum was rebuilt with the aid of an Armenian-Canadian family. Forming the western antechamber is an impressive gavit of 1261, decorated with splendid khachkars and with a series of inscribed gravestones in the floor.
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Later homes expanded the pit into a keyhole shape to create a low sheltered entrance. Interior space was often loosely divided into two rooms, one for storing personal and dry goods and the other as living quarters. Many pithouses included an antechamber, containing storage bins or pits. Pithouse construction was usually based on four corner posts positioned upright in the pit.
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Two graves (named grave "A" and grave "B") were discovered two kilometers north of Katerini. Grave "A" consists of two rectangular chambers with a marble door between the burial chamber and the antechamber. This type of Macedonian grave is the forerunner of the great Macedonian tombs because it lacks the artistic façade which is usually found in Macedonian tombs. It was covered by a flat roof.
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The damage in the niche were never repaired. It thus remains uncertain whether the palace was ever finished: Fallen debris from the earthquake was discovered in the 20th century in situ on the floor tiles of the main entry. The unused raw materials of a mosaic builder were found in the antechamber of the mosque. Khirbat al-Minya was abandoned at an uncertain date.
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The table was originally inscribed with reliefs and hieroglyphs, now illegible. The pyramid substructures were accessed from a stair of 36 steps, starting at ground level east of the chapel. At the end of the staircase was a wall of masonry meant to bar thieves from entering the tomb, which comprised two chambers. The antechamber is in size, while the burial chamber is larger at .
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The exit of the horizontal passage leads into the antechamber, a room measuring by . To east was a room, the serdab, containing three niches for storage, a developing feature of pyramids of the era. To the west lay the burial chamber, measuring by , which once contained the basalt sarcophagus of the ruler. Fragments of the sarcophagus were found in a depression in the floor.
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He was a student of Daniel Rabel. In 1634, he went to Rome with Louis Boullogne, where he associated with Sébastien Bourdon and a group of painters known as the . He returned to Paris in 1639, where he was commissioned to paint decorations in the guard room and antechamber of the Palais-Cardinal; the residence of Cardinal Richelieu. In 1645, he married Magdeleine Garnot.
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On one side of Lao Tu Street is the pagoda complex, with an entrance through a gatehouse; on the other side is an associated garden with an artificial pond. The pagoda complex itself consists of a small front courtyard, an antechamber with an altar to the Jade Emperor, a main chamber with an altar to Mazu, and a large rear courtyard dominated by the statue of Guanyin.
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The floor of the antechamber is made of rammed soil, while the domed chamber is made up of specially fitted stones. In the center of the domed chamber there is a circular granite block. On the floor underneath it is a cavity surrounded by a ring of stones resembling the cult fireplaces in Seutopolis. Opposite to the entrance, there is a bed with east-west orientation.
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The Audience Chamber is a small circular room adjoining the Antechamber and the Mythological Corridor. A door leading from the Audience Chamber to a staircase was preserved from the Trèkovský dùm, one of the original properties on the site. Several other salvaged architectural pieces were incorporated into the palace. Stuccowork and paintings depict Ovid's Four ages and portraits of the Four Periods of the Day.
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It had two rooms: an antechamber and an audience room. While Allen Brown interpreted the audience room as the king's chamber, historian Liddiard believes it is probably a throne room. A throne room emphasises the political importance of the castle. In England there is nothing similar to Château Gaillard's keep, but there are buildings with a similar design in France in the 12th and 13th centuries.
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It consists, of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. This monastery is the largest among the Ajanta caves and it measures nearly (35m × 28m). The door frame is exquisitely sculpted flanking to the right is carved Bodhisattva as reliever of Eight Great Perils. The rear wall of the verandah contains the panel of litany of Avalokiteśvara.
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A small stairway leads to two portcullis chambers similar to those found in the main pyramid. Here too the portcullises were left open. Beyond is an antechamber branching to the north and south to two burial chambers lined with masonry and both housing a large quartzite coffer. The lids of the coffers were found propped on blocks as they should be before any burial.
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The concept was a medieval castle surrounded by four walls with round towers. Ancelet undertook reconstruction of the castle in 1859. The project involved building kitchens on the ground floor, a salon and dining room on the first floor, an antechamber and apartments for the imperial couple on the next floor and rooms at the top for the staff. Ancelet designed all the decorations.
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He undertook reconstruction of the castle in 1859. The project involved building kitchens on the ground floor, a salon and dining room on the first floor, an antechamber and apartments for the imperial couple on the next floor and rooms at the top for the staff. Ancelet designed all the decorations. In 1859 Ancelet was charged with restoring and enlarging the church at Vieux-Moulin, near Compiègne.
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The temple plan consists of a shrine (cella) which is connected to a closed mantapa (hall) by a vestibule (antechamber). The closed mantapa leads to an open pillared mantapa, with the temple as a whole facing the east. Some parts of the temple, such as the cornice and parapet over the outer edge of the roof of the open mantapa are missing.Cousens (1926), p.
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Another batch of additional artisans arrived from India to accelerate the pace of construction in order to meet the consecration ceremony deadline. While basically preserving the existing temple structure, the inner walls of the sanctum, antechamber and the flooring of the whole temple have been changed. The entire temple has been repainted. New icons replacing the older ones are Thatchinamoorthy, Visalatchi, Chandikeswarar, Bairavar and Navagraham are installed.
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As the painter steadfastly denies knowing anything about Angelotti's escape, Tosca's voice is heard singing a celebratory cantata elsewhere in the Palace. She enters the apartment in time to see Cavaradossi being escorted to an antechamber. All he has time to say is that she mustn't tell them anything. Scarpia then claims she can save her lover from indescribable pain if she reveals Angelotti's hiding place.
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When a card leaves the antechamber, it is replaced with a card from the wastepile or, if there is none, the stock. When play goes on a standstill, cards from the stock are dealt one a time to a wastepile, the top card of which is available for play. The stock can only be dealt once. The game is won when all cards end up in the audience chamber.
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Jinjue Mosque is elaborately styled in a Sino-Islamic fashion. The three-entry gate has an imitation imperial tablet in the top center that reads "bestowed by imperial order" and below that it reads "Jingjuesi" (the name of the mosque). The mosque has several courtyards, a reception room, an ablutions chamber, an antechamber, guest quarters, a prayer hall, a kitchen, and a mihrab located at the western end of the mosque.
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The burial chamber is 3.05 m wide, 3.95 m long, and 1.95 m high. As in the antechamber, the walls are painted with pillars, supporting an architrave with guttae. Between the painted pillars, there are twenty-two niches for the remains of the dead, arranged in two rows (six in the back wall and four on each of the side walls). Only seventeen of these were ever used.
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The nest entrance is closed by the ants in the evening, and is reopened in the day. The main chamber has a funnel-like opening in the antechamber, and this structure is believed to prevent flooding of the main chamber. A study of the genome and expressed genes found that the production of enzymes that slow aging (telomerase and sirtuin deacetylases) are increased when workers turn into queens.
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The middle two of these are half-columns, while the outer two are quarter columns, directly abutting the antae. These once supported an entablature and pediment, but these are lost. Bronze elements from the door were found, including sixty nails, a knocker, a handle, and a Medusa head, all of which are now in the Istanbul Archaeological Museum. The antechamber is 5.4 m wide, 2.6 m long, and 6.35 m high.
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The walls are unusually thick, at 0.92 m. The walls were covered with painted stucco. The top third of the wall was painted white, the middle third was red, and the bottom third was painted as white imitation marble revetment with black bands at the top and bottom. The wall separating the antechamber from the burial chamber was largely intact in 1910, but large sections of it have now collapsed.
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The intricately carved doors and windows to the inner sanctum are covered in silver. There are three doors leading into the inner sanctum. Door to the right of the Lord comes in from the antechamber, leading to a special bathroom where the priests must bathe before entering the inner sanctum. Corridors from here, also lead to the treasure house of the Lord – housing His innumerable jewels and clothes.
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To its north lay the Triconchos palace, built by the emperor Theophilos and accessible through a semicircular antechamber known as the Sigma. To the east of the Triconchos lay the lavishly decorated Nea Ekklesia ("New Church"), built by Basil I, with five gilded domes. The church survived until after the Ottoman conquest. It was used as a gunpowder magazine and exploded when it was struck by lightning in 1490.
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In 2006, Martell joined the Comité Colbert, an association that promotes French luxury houses on an international scale. In 2010, Martell renewed its sponsorship with the Palace of Versailles, which began in 2007, by supporting the restoration of the Queen’s antechamber. In 2012, Martell Cordon Bleu, which was launched by Edouard Martell in 1912 at the Hotel de Paris in Monaco, celebrated its 100th birthday in the same place.
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Gheeraerts's painting is displayed at the National Gallery of Scotland. At Denmark House in London his portrait was displayed in an antechamber or passage between the queen's withdrawing room and the gallery and was recorded in an inventory as the picture of "Thomas Derry" in 1619.M. T. W. Payne, 'An Inventory of Denmark House in 1619', Journal of the History of Collections, 13:1 (2001), p. 39.
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A new raised women's gallery was completed in 1736: from that moment on, and until 1847, the antechamber is thought to have been used by people unable to afford a seat in the main room. Due to the synagogue's modest dimensions, the number of places was in fact limited: owning a seat was considered a status symbol, and seats were often handed down through generations within prominent families.
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Most of the caves take the form of an entrance corridor, antechamber, and main chamber. In three caves, a central pier was left intact during excavation then carved with niches on all four sides. A number of caves were reworked and repainted in later periods, since the site remained in use throughout the Tang, Five Dynasties, Song, Western Xia, and Yuan Dynasties. It fell into disuse during the Ming Dynasty.
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Paulus then removed himself from the hall while this was debated, and stood for a long time in a cold and drafty antechamber, which probably contributed to him developing pneumonia on March 7. The National Assembly declared the accusation baseless on March 25 after a thorough investigation of the matter; cf. Ramaer, pp. 759-760. from which he died, on 17 March 1795 in 's-Gravenhage, aged 42.
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Atop the building there is a crown with a lion seated on it, with the motto Dieu et mon Droit (God and my right) inscribed above. The entrance doors are made up of glass panes. The conference hall in the palace has an antechamber with an adjustable partition-like door while a large fanlight arching over divides the two rooms. The building has rich wooden flooring on the upper storey.
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343 The sanctum (garbhagriha) that houses the standing image of Tirthankara Parshwanatha (under a seven headed snake canopy) connects to the hall via an antechamber (vestibule or sukanasi). From the outside, the entrance to the hall is through a porch whose awning is supported by lathe turned half pillars. According to art historians Percy Brown and Gerard Foekema, all these features are commonly found in Hoysala temples.Brown in Kamath (2001), pp.
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Only two rooms in this tomb were decorated: the upper part of the well shaft, and the antechamber. The ceilings of both areas are decorated with yellow stars on a blue background. In the case of the well, only two walls are fully decorated: they begin with a kheker-frieze and the left wall depicts Thutmose before Osiris, Anubis, and Hathor. The other wall is unfinished and depicts Anubis.
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The bronze trumpet was discovered in the tomb's antechamber in a large chest containing various military objects and walking sticks. The silver trumpet was subsequently found in the burial chamber. Both are finely engraved, with decorative images of the gods Ra-Horakhty, Ptah and Amun. The silver trumpet's bell is engraved with a whorl of sepals and calices representing a lotus flower, and the praenomen and nomen of the king.
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The central part of the building houses the dining room; to the left of this is an antechamber and to the right the so- called parade bedroom. The interior decoration is largely intact or, in a few cases, restored with 18th century furniture. The dining room is decorated in a strict form of classicism with pilasters and painted festoons, executed in grisaille technique. The furnishings are however simple.
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Malatesta arrives with Norina in tow, and introduces her to Pasquale as his sister, Sofronia, fresh out of the convent. Pasquale is smitten, and Norina plays the part of a dutiful, modest and submissive lady, to Pasquale's satisfaction. Norina consents to the proposed marriage, which delights Pasquale. He wants to send for the notary to conduct the ceremony straight away – conveniently, Malatesta has brought one along, who waits in the antechamber.
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The patient area is provided with continuous negative air pressure and air filtration to keep pathogens from entering the rest of the cabin. An antechamber to the patient area is used by medical personnel for donning and doffing personal protective equipment as well as for decontamination. Next to the isolator is a toilet for the patient’s use. After transport of an infected patient is completed, Phoenix Air performs a decontamination process stipulated by the CDC.
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The plan of the sanctuary of the Middle Kingdom is still subject to discussion. But it was to have at least one hypostyle antechamber, giving access to chapels of worship or shrine. A large courtyard surrounded by portico columns where a sacred bull would have lived would have been revered as the hypostasis of the living Montu. This temple has provided many examples of royal statuary and lithic elements of Ancient Egyptian architecture.
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The reconstruction was conducted by the architect Pavel Ignác Bayer. After three years Bayer was replaced by Jan Blažej Santini-Aichel who had worked for the Cistercians already in Zbraslav. He completed the reconstruction of the church in his original style called Baroque Gothic. This reconstruction was celebrated for its impressive vaulting and facade as well as for its antechamber, which had been decorated by the statues made by Matěj Václav Jäckel.
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It was located on the left side of the path serving as the main entrance to the park. Stone material from the old gothic church, demolished in 1912, was used at its construction, but unfortunately, the building of the greenhouse didn’t manage to survive until today. It was a small building facing east and west. Around 1930 the new owners of the Révay estate, the Hubays, had the antechamber of the greenhouse renovated.
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It was used as a dining room for the 2,000 staff members who worked in the palace. It was heated with four large fireplaces and lit by many windows, now blocked. It was also used for royal banquets and judicial proceedings. The neighboring Salle des Gardes was used as an antechamber to the Great Hall immediately above, where the king held his lit de justice (a session of parliament in the king's presence).
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The mansion was converted into a museum when a large donation was made by Paul Meurice to the city of Paris to buy the house. Bedroom where Hugo died Dining Room Staircases to the second floor The museum consists of an antechamber leading through the Chinese living room and medieval style dining room to Victor Hugo’s bedroom where he died in 1885. Victor Hugo's House also manage Hauteville House, Guernsey (Channel Islands).
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The façade is formed by perfectly processed granite blocks aligned in 10 rows. Once, there had been a pediment, the existence of which is proven by a semi-palmette-form antefix found during the archaeological excavations. In the façade itself, through an arch-like cutting of the blocks’ internal sides, the antechamber's arch is formed. The antechamber has a rectangular form with a stone Ionic-styled column in its front center part.
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The interior is divided into a meeting and dining hall with kitchen on the ground floor, and auditorium with antechamber on the upper level. In the auditorium, the roof's Warren trusses are exposed. Most of the original wall finishes are plaster and pine, although these have been covered in some areas. The building was constructed in 1915-16 to serve the local Grange chapter, its layout typifying functions commonly supported by New England Grange chapters.
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To the east of this room was a President's Antechamber (later known as the Red Room). An oval-shaped Drawing Room (now the Blue Room) and a Common Dining Room (now the Green Room) served as additional dining and living space. During the presidential administration of Thomas Jefferson, the Common Dining Room rather than the Public Dining Room was used primarily for family meals. At Jefferson's request, Latrobe drafted plans for altering the State Floor.
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Following the Burning of Washington and the near-destruction of the White House in 1814, the State Floor was rebuilt. This 1817 recreation saw the old Cabinet Room/Presidential Library turned into the State Dining Room, and the President's Antechamber into a Yellow Parlor. The Public Dining Room now became the Private Dining Room. The room was partitioned to make it smaller, and the western third of the room turned into a pantry.
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The gas-tight entrance door (Gasdichttur) included an observation port through which the behavior of the delinquents (Delinquenten) could be observed during the course of the gassing. Gas chamber in Hadamar Euthanasia Centre For the first gassing the maintenance personnel led about 18 - 20 persons into the disguised gas chamber. These men had had to undress in an antechamber (Vorraum), so that they were completely naked. The door was locked behind them.
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It was almost square and included an oblong antechamber and a main council chamber, a large rectangular room with wooden benches arranged in rows along the walls. The roof was supported by five columns. It is now better known as the Metroon ("House of the Mother") since it was repurposed as her temple after the construction of the New Bouleuterion. The New Bouleuterion was built west of the old building in the late 5th century .
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Charles Eugene became the first to reside here in 1744 with his wife. When Frederick I took up residence, he had Thouret remodel his 12-room suite from 1802 to 1811. The suite opens with the antechamber, containing decorations dated to 1785, likely taken from Hohenheim Palace, and an original ceiling fresco by Carlo Carlone of Bacchus and Venus. Adjacent to it is the audience chamber, decorated with Baroque red damask and Neoclassical borders.
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Ault, () (also known as Gowkstown), is a townland of 367 acres in County Antrim, Northern Ireland. It is situated in the civil parish of Tickmacrevan and the historic barony of Glenarm Lower. The townland contains a Wedge tomb (Giant’s Grave) registered as a Scheduled Historic Monument at grid ref: D3161 1082. The wedge tomb is set in a long cairn aligned south-west/north-east, with a single large burial chamber and small antechamber.
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It is reported that Jews and Muslims respected each other and accommodated each other's rituals. During the riots of 1929, violence hampered regular visits by Jews to the tomb. Both Jews and Muslims demanded control of the site, with the Muslims claiming it was an integral part of the Muslim cemetery within which it is situated. It also demanded a renewal of the old Muslim custom of purifying corpses in the tomb's antechamber.
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The shrine building often includes an ambulatory for parikrama (circumambulation), a mandapa congregation hall, and sometimes an antarala antechamber and porch between garbhagriha and mandapa. There may further mandapas or other buildings, connected or detached, in large temples, together with other small temples in the compound. There are examples of special dance pavilions (Nata Mandir), like in the Konark Sun Temple. The pool, temple tank (Kunda) is also part of the temple for ablutions.
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The male continues by constructing the roof of the antechamber, working over his head. This is followed by lining the ceiling, and constructing the entrance tube, hanging upside-down, but still with his feet at the same spots. The weaving technique consists of seizing a strip of near the end and double the strip back on itself. Next he pokes the end with a vibrating movement in between his previous work until it sticks.
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Tombs II and III, however, remained undisturbed, still containing many artefacts. Among them were two gold ash coffins (larnakes) in Tomb II and a silver funerary urn in Tomb III. The Golden Larnax of Philip II of Macedon (Vergina Collection, National Archaeological Museum of Thessaloniki). The coffin of Tomb II's primary occupant, the Golden Larnax, featured the sixteen-rayed sun design and that of the occupant's wife, entombed in the antechamber, a twelve-ray sun.
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Brooke, Douglas (1911) The Secrets of the Vatican. J.B. Lippincott. The Grand Master is a Participating Privy Chamberlain and the sole lay member of the Noble Privy Antechamber, as well as a Participating Privy Chamberlain of the Sword and Cape (made up of laymen, traditionally holding hereditary posts). From 1808 with Francesco Ruspoli, 3rd prince of Cerveteri, the Ruspoli family assumed the office of Grand Master of the Sacred Hospice and succeeded in the Conti family.
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The buttery had a cellar and was used to store ale and wine, while the pantry held the supplies for the kitchen. To prevent heat from the cooking fires becoming unbearable, the kitchen was as tall as the curtain walls to provide a large space to absorb the heat. In the southwest tower was a well, from which water would have been drawn for the household. Along the east wall is a chapel, a hall, and an antechamber.
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Benjamin Latrobe's 1803 drawing of the White House's first floor indicates that the Red Room served as "the President's Antichamber" (sic) for the president's "Library & Cabinet" next door in the location of the present State Dining Room. During the administration of John Adams, it served as a breakfast room. Jefferson kept a caged magpie in the room. During the James Madison administration, the antechamber became the "Yellow Drawing Room" and the scene of Dolley Madison's fashionable Wednesday night receptions.
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Screens broadcast the events to the masses who shouted on the streets, "Lech Kaczyński! We thank you!" Lech Kaczyński and Maria Kaczyńska were buried together in a sarcophagus, placed in the antechamber to Józef Piłsudski's crypt in the Wawel Cathedral, Kraków on 18 April 2010; Kaczyński's family revealed this decision on 13 April. This decision was considered controversial by many Poles who felt his achievements were not in the same league as others buried at Wawel causing objections.
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The tomb decoration in this tomb was copied from the tomb of another noble called Ibi, from the Old Kingdom cemetery at Deir el- Gabrawi. This is typical of the Saite Period, which tended to echo the decoration of previous periods of Egyptian history. The tomb is entered via a flight of steps that run parallel to the main axis. At the foot of these steps is an antechamber, which is decorated with scenes of Ibi adoring Ra-Horakhty.
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The roof of both the antechamber and burial chamber were constructed from two, or perhaps three, layers of gabled limestone blocks, in the same fashion as the pyramids in Abusir. These blocks were in length. The rooms of the substructure have been badly damaged by stone thieves, who quarried the Tura limestone walls of the chambers, which has made reconstruction of the planned layout difficult. The serdab was left alone, preserving its structure and flat roof.
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A monumental entrance – propylon (Greek πρόπυλον) represented the transition to the inner yard. To the far side of the yard there was a representative building which was identified as one of the King's residences. It had a wide antechamber, probably with a colonnade, behind which there was a big hall of rendering, colored in the so-called “structural style”, and residence sectors. It is believed that ordinary citizens lived beyond the fortress walls where workshops were also located.
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Leading down from the mound was a diagonal ramp leading into an antechamber, then through a connective passageway to a large burial chamber. The total length of the interior was almost 18 metres, larger than any tomb in the area and one of the largest tombs of the Wei excavated so far. The walls were covered with relief sculptures. As mentioned, this royal tomb has two chambers, the first an anteroom to which the bricked pathway led.
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Thommanon is a single-towered temple with an east-facing central sanctuary, crowned by a prasat, or tower. Access from the east is via a gopura, followed by a mandapa, or antechamber, before arriving at the central sanctuary. The temple's carvings are very well preserved and the aged sandstone provides a distinct contrast to the surrounding jungle. The architectural style of its tower is akin to the Angkor Wat temple and the Chau Say Tevoda in its vicinity.
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When the pope was carried in the sedia gestatoria, Noble Guards walked alongside the papal chair. During the hours reserved for papal audiences, guardsmen also stood in the antechamber of the papal apartments and, on formal occasions, on either side of the papal throne. During the Second World War, the Noble Guard shared responsibility with the Swiss Guard for the personal security of Pope Pius XII. For the first time since 1870 pistols were issued to duty personnel.
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He notes that the Tyrrhenian Sea is visible to the west from the elevated terrain of the Necropolis of Monterozzi. This is similar to how the banqueters look down towards the seascapes from the gable of the main chamber's back wall. This is combined with the scenes in the antechamber, which show a funeral dance. This motif of the panoramic distant vista from the pavilion recurs later in the Tomb of the Ship, but was then abandoned.
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This measurement does not include the step-like platform upon which it rested. Although the menorah was placed in the antechamber of the Temple sanctuary, over against its southernmost wall, the Talmud (Menahot 98b) brings down a dispute between two scholars on whether or not the menorah was situated north to south, or east to west. The historian Josephus, who witnessed the Temple's destruction, says that the menorah was actually situated obliquely, to the east and south.
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The Small Throne Room The Small Throne Room (Kis trónterem), which was situated next to the Audience Antechamber on the first floor of the Baroque wing. In the Baroque era it was called Audienz-Zimmer and was part of the Empress' private apartments. In Hauszmann's time it was converted into the throne room of the palace, with a simple Baroque throne under a baldachin. It had a white-golden stucco decoration with one chandelier and a Rococo cocklestove.
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The Zenta Room The "Zenta" Room ("Zenta" előterem) was on the first floor of the Baroque wing, was situated next to the audience antechamber. It opened from the main staircase of the central wing and was the first room of the ceremonial apartments on that side. In the early 1900s, it had a white-golden stucco decoration with one chandelier. The name of the chamber referred to the large painting of the Battle of Zenta contained therein.
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In 1545, the upper level of the church's bell tower collapsed. The Franciscan friars renovated the church in 1555, as it had been neglected despite increased numbers of pilgrims. The Franciscans rebuilt the Aedicule ('small building'), extending the structure to create an antechamber. A marble shrine commissioned by Friar Boniface of Ragusa was placed to envelop the remains of Christ's tomb, probably to prevent pilgrims from touching the original rock or taking small pieces as souvenirs.
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The Palm Room serves as the entrance to the bedroom, to the south and decorated like the antechamber, and to two cabinets to the north. The first of the latter is the Writing Cabinet, painted in shades of gray and ornamented with more golden stucco. The second, and smaller, is the Library Cabinet, whose walls are painted in a mimicry of woodgrain. The east wing consists of drawing rooms for visitors, namely two halls and four cabinets.
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The Hundred of Dudley () was proclaimed on 13 August 1874. It covers an area of principally on what is now the Dudley Peninsula and was named after the American jurist, Dudley Field who was the father-in-law of Governor Musgrave. Its extent includes the localities of American Beach, Antechamber Bay, Baudin Beach, Brown Beach, Cuttlefish Bay, Dudley East, Dudley West, Island Beach, Kangaroo Head, Ironstone, Pelican Lagoon, Penneshaw, Porky Flat, Sapphiretown, Willoughby and Willson River.
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The east wall of the antechamber bears spells that protect and provide for the king. The passage into the serdab is inscribed with the Morning Ritual, but the serdab itself was left uninscribed. The texts of the horizontal corridor are split into three sections. Their dominant theme is the king's ascent into the sky, alongside other personal texts, a protective spell for the tomb, and a "final imprecation against the guardian of the door" in the north-east section.
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Opuscula omnia, 1640 A persistent tradition identifies Celestine V as the nameless figure Dante Alighieri sees among those in the antechamber of Hell, in the enigmatic verses: The first commentators to make this identification included Dante's son Jacopo Alighieri, followed by Graziolo Bambaglioli in 1324. The identification is also considered probable by recent scholars (e.g., Hollander, Barbara Reynolds, Simonelli, Padoan). Petrarch was moved to defend Celestine vigorously against the accusation of cowardice and some modern scholars (e.g.
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Facing the Cocijo walls, at the end of the Patio is Tomb 2 with masonry walls forming an antechamber and main chamber. The facade was constructed later; it displays a recessed board with double cornices. The remains of seven adult individuals were discovered inside representing at least four generations. In addition to the remains 144 objects were recovered, containing bat claw vessels, thorn decorated braziers, uncooked vessels, carved bones and five identical molded mud urns representing Cocijo.
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Amenhotep's now lost tomb had been discovered in 1821 or 1822 and items such as the scribal palettes, the cubit rods and the jars had been removed. The tomb was possibly excavated by Nizzoli and Anastasi. The tomb appears to have been a standard New Kingdom tomb and had two subterranean chambers: an antechamber and a burial chamber. The tomb was undecorated, but a stele depicting Amenhotep and his son Ipy was likely found in the tomb.
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They also asserted that the antechamber built by Montefiore was specially built as a place of prayer for Muslims. The UN ruled that the status quo, an arrangement approved by the Ottoman Decree of 1757 concerning rights, privileges and practices in certain Holy Places, apply to the site. In theory, free access was to be granted as stipulated in the 1949 Armistice Agreements, though Israelis, unable to enter Jordan, were prevented from visiting.Daniel Jacobs, Shirley Eber, Francesca Silvani.
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Its garbha griya (sanctum) has a Shiva linga, and features a circumambulatory path (pradakshina patha). In front of the sanctum is an antechamber (antarala) with small shrines for Durga as Mahishasuramardini killing the buffalo demon and another for Ganesha on each side, both currently empty. A Nandi-mantapa is included in the temple wherein Nandi faces the sanctum. Access to the sanctum is through a pillared sabha- mantapa (community hall) with entrance porches, enclosures (prakara) and a gateway (pratoli).
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The British Broadcasting Company, Ltd. (BBC) was a British commercial company formed on 18 October 1922 by British and American electrical companies doing business in the United Kingdom. Licensed by the British General Post Office, their original office was located on the second floor of Magnet House, the GEC buildings in London and consisted of a room and a small antechamber. On 14 December 1922, John Reith was hired to become the Managing Director of the company at that address.
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It had a base length of with an incline of 56° which gave the pyramid a height of . The substructure was accessed through an entrance in the pavement of a chapel on the north face of the pyramid. The entry led into a downward sloping corridor, followed by a 'corridor-chamber' with three granite portcullises that guarded the entrance into the horizontal passage. The horizontal passage ends at the antechamber of the substructure and is guarded by a fourth granite portcullis.
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Compared to the tombs of the kings, the layout and structure of those that belonged to these queens were much simpler. But the layout of the texts corresponded to similar walls and locations as those of the kings. For example, the Resurrection Ritual is found on the east end of the south wall. Due to the fact that the pyramid of Neith did not contain an antechamber, many of the spells normally written there were also written on the south wall.
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The tomb was found and studied in the summer 1965 by Prof. L. Getov. It consists of a small antechamber, flanked at both sides by a single rectangular premise, a long two-sector corridor (dromos Greek Δρόμος), two rectangular sections and a funeral chamber. The funeral chamber and its constructively connected II compartment were built from bricks, while the rest of the premises were built from crushed stones of various dimensions, which were connected to each other with mud solution.
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The foundation for the temple was laid down by Baijal Dev on 17 March 1413 AD. as per inscriptions. The temple of Lord Nrushinghnath is only high. It is divided into two parts; the first being the seat of the Lord – a short, raised narrow plinth and the other Jaga Mohan (the antechamber) having three gates and is supported by four pillars, the like found nowhere in Odisha. The rocks used in the Jaga Mohan pillars are of a rare kind.
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Matthias of Arras and his building workshop took part in the construction. The richly profiled chancel arch, the antechamber as well as the north entrance to the nave repeat some of the stylistic features of Matthias already seen in St. Vitus. The church was consecrated by the archbishop Jan Očko of Vlašim in 1377 in the presence of Charles IV and his son Wenceslaus IV. It is evident, however, that the building was not yet finished by the time of the consecration.
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The Naga and Nagini, with their tails intertwined, appear on the side of the door to the vestibule (antechamber) along with an image of Parvati. A niche depicts a curious male figure with six hands, the two lower hands each hold a linga (the symbol of Shiva) and the middle left hand holds a chakra (wheel). The architrave above the vestibule entrance bears images of Brahma, Shiva and Vishnu, with Shiva in the centre. Ganapati and Kartikeya flank Brahma and Vishnu.
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At 17:00 on 24 July 1943, the 28 members of the Grand Council met in the parrot room (the anteroom of the globe saloon, the office of Mussolini) in Palazzo Venezia. For the first time in the history of the Grand Council, neither the bodyguard of Mussolini, known as the Duce's musketeers, nor a detachment of the "M" battalions were present in the Renaissance palace.Bianchi (1963), p. 510 Fully armed blackshirts occupied the yard, the escalade and the antechamber.
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The mandapa entrance has the image of Mahavira with two female attendants, inside are four pillars laid out in a square pattern, and the design on them look similar to pillars found in nearby Hindu temples. At the entrance of the antarala is another image of the Mahavira. The square antechamber leads to sanctum where there is another image of the Mahavira seated in the padmasana yoga position, on a lion throne flanked by two attendants. The smaller shrines also feature the Mahavira.
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The castle remains a residence of Josselin de Rohan, fourteenth Duke of Rohan, who was President of the region of Brittany from 1998 to 2004.Le château de Josselin, une forteresse de Bretagne at photos-france.net, accessed 27 May 2010 (in French)CHATEAU DE JOSSELIN (3 ha) at parcsetjardins.fr, accessed 27 May 2010 A marble bust of the 13th Duke, Alain Louis Auguste de Rohan-Chabot, sculpted in 1910 by Auguste Rodin, is displayed in the antechamber,Welcome to the Castle... at chateaujosselin.
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The two- storey building is strictly symmetrical and contained four apartments and a great hall. Each apartment was designed with an antechamber, a chamber, a cabinet, and a cloakroom. Originally, the building had a cupola, which was destroyed in a fire in 1704. After the death of Prince John Maurice in 1679, the house was owned by the Maes family, who leased the house to the Dutch government. In 1704, most of the interior of the Mauritshuis was destroyed by fire.
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All slabs leaned inwards slightly, but is not clear whether this was intentional. Although only 9 stones survived, there must originally have been about 33 (15 on each side, 1 at the west end and 2 at the east entrance). They formed a chamber of 17 x 2.9 m size. The entrance was at the E end. Here, The side walls protruded about 1.2 m beyond the limit of the chamber, forming an antae-like feature enclosing a small antechamber.
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Hardy (1995), p.324 Like all Western Chalukyan temples, the sanctum is connected to the large hall via a vestibule ("antechamber" or ardhamantapa, which literally means "half hall"). At the end of the large hall, facing the sanctum is an open Nandimantapa (a small open hall with a seated sculpture of Nandi the bull, a companion to the god Shiva). According to the art historian Percy Brown, the Western Chalukya architects provided well rendered external wall surfaces for the shrine and the halls.
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Duke Charles Eugene moved into the Neuer Hauptbau in 1757 and tasked La Guêpière with the apartment's decoration. Two years later, La Guêpière completed the entire suite except for the bedchamber, as the Duke occupied his wife's former suite in 1760 for his actual residence. The rest of the suite was used for social functions until it was emptied of furnishings in the next decade. A staircase and antechamber lead to the entrance of today's apartment, a gallery decorated by Ludovico Bossi.
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Heqakheperre Shoshenq II or Shoshenq IIa At the October 2007 Egyptological Conference on the History and Chronology of the Libyan Period in Egypt at Leiden University, the conference members voted unanimously to designate him as Shoshenq IIa. was a pharaoh of the Twenty-second Dynasty of Egypt. He was the only ruler of this dynasty whose tomb was not plundered by tomb robbers. His final resting place was discovered within an antechamber of Psusennes I's tomb at Tanis by Pierre Montet in 1939.
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Accessed from the Great Stair, the suite of rooms comprising a guard hall, presence chamber, privy chamber, antechamber, bedchamber and closet. The level of privacy, as well as the richness of decoration, increased in sequence. From the visit of George IV in 1822, the guard hall has been used as a throne room, and the order of rooms reversed. The Evening Drawing Room and Morning Drawing Room occupy the former presence chamber and privy chamber, and retain their rich 17th-century ceilings.
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Above the passageway was a single room, of uncertain purpose: it may have been used as another chapel, a guest room, or an antechamber where guests would wait before being admitted into the earl's presence. South of the great hall was a two-storey building containing withdrawing chambers, dating from around 1200. Narrow windows opening onto the bailey were original but have since been filled in. The first floor was entirely occupied by the great chamber, furnished with a fireplace.
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The suspended timber floors are red stringybark and covering tiles have recently been removed from several areas. All joinery and mouldings in the house are silky oak, apart from the handrail which is maple. The house was originally designed to cater for a family served by a maid and a secondary circulation route links the main public rooms with the kitchen and laundry areas. A bathroom is located between these utility areas and public areas and has a small antechamber adjacent to it.
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On the left wall there are sculptures of the Nadaraja and Sivakami in dancing posture of the cosmic dance. Nine statues of goddesses (9 types of Sakthi) can be seen on the walls surrounding the inner shrine of Penang Sri Mahamariamman Temple. The primary deity Goddess Mahamariamman is seated at the moolastanam (sanctum) of the karuvarai (sanctum sanctorum). The temple has an artha mandapam (antechamber), mukha mandapam, mahamandapam (hall), prakaram (circumambient), vasantha mandapam (festive hall) and kodi maram (flag post).
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Ganesha and Subramaniyaswami are installed at the artha mandapam (antechamber) facing east. There is a surrounding circumambulatory path. At the mukha mandapam we may find the vahana (mythical mount/vehicle) of the Goddess which is lion, the bali peedam (sacrificial altar) and the kodi maram (flag post) is also found facing west towards Mahamariamman. Stone carvings of the cosmic dance of Lord Nadaraja and His consort Goddess Sivakami are found at the wall facing south at the vasantha mandapam (festive hall).
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About us . IOOF. Retrieved June 4, 2016. The third story was designed to blend with the 1876 exterior, but is faced with a darker tint brick. The I.O.O.F. Centennial Building features unusual architectural highlights, icons and peculiarities that are specially tied to its purpose as home for the lodge and its secret eleemosynary mission: the third-story temple, for instance, can only be reached via an antechamber, so that people who were in need could enter and exit the room without being exposed.
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In 1956 Laiko Vima started to host a literary page, initially edited by Panos Tsoukas, who was an active member of the Party of Labour. During 1960–1968 the literary page was suspended but reappeared in 1968–1988, this time edited by the poet Andreas Zarbalas. From 1988 to 1991 it evolved into a separate literary magazine with the title: The people's literary tribune (). This featured poems and prose pieces by both established and new writers, for whom it functioned as the antechamber for further publishing.
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The Great palace district. The Covered Hippodrome lay in the southeastern corner of the shaded area The Covered Hippodrome () was a covered courtyard that served as an antechamber to the Great Palace of Constantinople in Istanbul, Turkey. The French scholar Rodolphe Guilland also equated it with the emperors' private hippodrome. It lay on the southeastern corner of the palace complex, and connected the Palace of Daphne in the north with the later lower palace complex around Bucoleon in the south, through the gate of Skyla.
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This room was very important to the social life of the resident dowagers. Henriette von Nassau-Weilburg converted the hall into an antechamber while its functions moved into the octagonal tower. Under Franziska von Hohenheim, the dowager suite was made up of an enfilade of six rooms on its south side, and five rooms, hall, and a staircase on its north end. The southern portion was later expanded with two rooms, the Garden Rooms, built from wood which was then on top of a casemate.
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The antechamber is 4.10 m wide and 2 m long. The lower part of the walls is painted black and the upper part is white, with bands of black and white separating the two sections. The unique painted design on the ceiling, consisting of six palmettes and water lilies on a light blue background, is the source of the tomb's modern name. A large marble double door (3.5 m tall and 0.9 m wide) in the rear wall of the chamber led to the burial chamber.
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The tomb consists of a monumental facade and two vaulted chambers (an antechamber and a burial chamber) on an east-west axis, covered by an extremely large earthen tumulus 19.5 m high and 76 m in diameter. Excavation has left parts of this tumulus in danger of subsidence. There was a 14.7 m long, 3.5 m wide dromos, paved with clay and gravel, which approached the facade from the west at a slightly oblique angle. The 7.83 m high facade consists of four engaged Ionic columns.
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Niankhkhnum (standing, left) and Khnumhotep (right, with his right arm on Niankhkhnum's shoulder), accompanied by their offspring (hieroglyphic notations msw.f). On west wall of outer hall, between double doors. This outer hall, an antechamber to the final, inner hall, marks the tomb's first, rock- cut phase of construction, and is fully decorated. Before the mastaba was added, it would have been the first room a visitor entered after passing through the forecourt, which was relocated northeast to the far side of the mastaba where it is now.
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Thames & Hudson. p. 115. On this date, Professor Geoffrey T. Martin together with Dr. Jacobus Van Dijk representing the Leiden museum discovered the burial chamber of Maya's subterranean tomb at Saqqara some 18 metres (60 feet) below the surface. As Martin states: : We were in total darkness for about 15 minutes...Suddenly we glimpsed wonderful reliefs and were extremely startled to find ourselves in the antechamber leading to a burial chamber. My colleague looked across at an inscribed wall and said, 'My God, it's Maya.
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He generally took a harder line than his predecessor Thomas Pownall, who advocated for colonial interests in Parliament. Proposals he made in 1771 included ideas central to the 1774 Massachusetts Government Act, which severely constrained colonial political power, including a council appointed by the governor rather than one elected by the assembly. Bernard may also have played a role in the difficulties Benjamin Franklin had in being recognized as a colonial agent; after Franklin's credentials were refused by the colonial secretary, he encountered Bernard in an antechamber.
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The Coronation Room The "Coronation" Room ("Koronázás" előterem), also on the first floor of the Baroque wing, was situated next to the white antechamber. It opened from the main staircase of the southern wing and was the first room of the ceremonial apartments on that side. In the early 1900s it had a white-golden stucco decoration with one chandelier. The name of the chamber referred to the painting of Franz Joseph I's coronation as King of Hungary after the Austro-Hungarian Compromise of 1867.
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Khendjer's second portcullis chamber, antechamber and corridor were constructed in the corner of a large trench dug in the ground. The burial chamber, which is made of a colossal monolithic quartzite block, was placed in the trench before the pyramid construction started, in a manner similar to the burial chamber of Amenemhet III at Hawara. The weight of the quartzite block was estimated at 150 tons by G. Jéquier. The block was carved into two compartments destined to receive the king's coffin, canopic chest and funerary goods.
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In the descending corridor is a successive horizontal hallway, a vestibule, another hallway, a bedroom with harrows, a final corridor, and a final granite passage which opens into the funerary apartments of the King. The room with harrows spans more than six metres and is designed with alternating limestone and granite. The three granite harrows, originally lowered, are now broken into several pieces leaving the way open to visitors. The horizontal passage leads to rooms consisting of a funeral serdab, an antechamber, and a burial chamber.
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Parts of the five metres deep moat was used as a theatre and furnished with a superstructure. As the new palace was being built, the slope was redesigned to become the palace's grand-style Baroque antechamber, and the structures and gardens on the southern side were consequently replaced by more prestigious buildings in stone. While the exterior of the Palace was more or less completed in the 1750s, the work on the slope, the palace's main approach, was still proceeding by the end of that century.
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Five stones support the roof, a massive slab measuring and weighing an estimated , which has slipped from its original position, with one end resting on the ground. The chamber itself consists of seven upright stones and was originally covered by a cairn. It had a small porch at its entrance for the purpose of entering the chamber and also had an antechamber with an even smaller entrance. to the east is Sperris Quoit, although this is in a considerably less fine state than the Zennor Quoit.
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An old mansion in the town İnebolu has several examples of traditional Turkish architecture in the Ottoman style. By the end of the 19th century many wealthy inhabitants İnebolu built large houses along the banks of the İkiçay river that divides the town. By 1890, the town had hundreds of houses built in this special style: The ground floor is built of stone and contains a cellar and pantry. Above it are one or two stories, each containing four bedrooms, one antechamber, a kitchen and toilet.
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In 1912 the Ottoman Government permitted the Jews to repair the shrine itself, but not the antechamber. In 1915 the structure had four walls, each about 7 m (23 ft.) long and 6 m (20 ft.) high. The dome, rising about 3 m (10 ft.), "is used by the Moslems for prayer; its holy character has hindered them from removing the Hebrew letters from its walls."Bromiley, Geoffrey W. The International Standard Bible Encyclopedia: Q-Z, Wm. B. Eerdmans Publishing, 1995 (reprint), [1915]. p. 32.
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Gallery grave, missing a portion of its tumulus and all its stone caps, in a cemetery in Herrljunga, Sweden. A gallery grave is a form of megalithic tomb built primarily during the Neolithic Age in Europe in which the main gallery of the tomb is entered without first passing through an antechamber or hallway. There are at least four major types of gallery grave (complex, transepted, segmented, and wedge-shaped), and they may be covered with an earthen mound (or "tumulus") or rock mound (or "cairn").
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It depicts an antechamber to the underworld in which demons guide the deceased woman to the ship for her journey. She walks from the rock or cliff on the right, which is the border with the world of the living, towards the boat, which is the boundary with the underworld. It is also possible for the inhabitants of the underworld to enter from the other side, like the women with the boy. The ship of the Etruscan Charun is seaworthy, unlike the skiff of his Greek counterpart.
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On the eastern side of the antechamber, a doorway led to the serdab of the pyramid which has been completely destroyed. The burial chamber, whose walls are covered in pyramid texts, is 3.15 metres wide and nearly eight metres long (7.79 metres at the north end, 7.91 metres at the south end). The western wall of the chamber is painted with the facade of a palace. The sarcophagus is made out of greywacke; it is nearly three metres long, around 1.3 metres wide and 1.2 metres high.
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K.A. Kitchen, in the introduction to his 3rd 1996 edition of "The Third Intermediate Period in Egypt (c.1100-650 BC)," Aris & Phillips Ltd. pp.xxxii-xxxiii The English Egyptologist Aidan Dodson, in his book The Canopic Equipment of the Kings of Egypt, observes that Shoshenq III built "a dividing wall, with a double scene showing Osorkon II" and him "each adoring an unnamed deity" in the antechamber of Osorkon II's tomb.Aidan Dodson, "The Canopic Equipment of the Kings of Egypt," (Kegan Paul Intl: 1994), p.
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The homestead features fine cedar joinery, including a highly unusual set of finely glazed entrance doors with corresponding antechamber doors, original fire surrounds, floorboards, plasterwork and French doors with fine glazing bars. The house retains a high degree of integrity and intactness and is considered to have one of the finest Georgian colonial interiors on the South Coast. Further research on its joinery may provide evidence of cultural and trade ties between NSW and Tasmania in this period. The estate was developed as a dairy farm in the late nineteenth century.
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It was the function of the "outer parlour" as the public antechamber of the monastery that was adapted into domestic architecture. In the early modern period homes became larger and concepts of privacy evolved as material prosperity was more widely shared. Rooms were increasingly set aside for the reception of guests and other visitors, screening them from the rest of the home. Although aristocratic homes might have state rooms, the frequent name for this reception room among the emerging middle classes (not likely to host state functions or royalty) was the "parlour".
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The site has three large capstones which slope downwards towards the back, the largest being long and weighing . The gallery below is made up of a large rectangular chamber, with a small one behind it, divided by a slab. The gallery is triple-walled, buttressed at the back by three slabs set parallel to the axis of the tomb. To the front of the gallery are the remains of a large rectangular unroofed antechamber which is wider than the gallery and separated from it by a large slab.
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Localities within the jurisdiction of the Kangaroo Island Council are as follows: American Beach, American River, Antechamber Bay, Ballast Head, Baudin Beach, Bay of Shoals, Birchmore, Brown Beach, Brownlow KI, Cape Borda, Cassini, Cuttlefish Bay, Cygnet River, De Mole River, D'Estrees Bay, Dudley East, Dudley West, Duncan, Emu Bay, Flinders Chase, Gosse, Haines, Island Beach, Ironstone, Kangaroo Head, Karrata, Kingscote, Kohinoor, MacGillivray, Menzies, Middle River, Muston, Nepean Bay, Newland, North Cape, Parndana, Pelican Lagoon, Penneshaw, Porky Flat, Sapphiretown, Seal Bay, Seddon, Stokes Bay, Stun'Sail Boom, Vivonne Bay, Western River, Willoughby, Willson River, and Wisanger.
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The late 17th century Venkataramana temple is located near the old fort ("fort" is kote in Kannada language) adjacent to what was once the residence of Mysore Wodeyar royal family, and later became the palace of Tipu Sultan, a later ruler of the Mysore Kingdom.Michell (1995), p. 71 The temple consists of a sanctum (garbhagriha) which is connected to a central hall (mantapa) by a vestibule. The walls of the sanctum and vestibule (antechamber) are plain but for a row of deity sculptures in frieze at the base.
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When the city council refused to recognize the appointment, the rump-krijgsraad took it upon themselves to administer the oath of office to the new officers. They also appointed the lawyer Cuperus as their secretary.Van Loon, pp. 344-345 Meanwhile van Goudoever and his insurrectionist officers had several times visited the City Hall with their demands. On 26 February they had forced their way into the antechamber of the room where the vroedschap was in session to discuss the proposal to allow the "Legion of Salm" to move to The Hague.
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Lying on a table, wounded, in a room of the convention, Robespierre is the object of the curiosity and quips of Thermidorians, painting by Lucien-Étienne Mélingue (Salon de 1877)(Musée de la Révolution française) Robespierre on the day of his execution; Sketch by Jacques Louis David socket when he was arrested. For the remainder of the night, Robespierre was laid in an antechamber of the Committee of General Security. He lay on the table with his head on a deal (pine) box, bleeding profusely. At 5 a.m.
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The ascending portion is long with a slope of 5°, whilst the horizontal section is long. Precise reconstruction of the substructure plan has been rendered impossible as a result of the extensive damage that stone thieves wrought on the chambers. As a result, sources differ as to whether the funerary apartment – estimated to be east-west by north-south – consisted of a single chamber, or twin chambers. In the latter case, the antechamber lies directly on the vertical axis of the pyramid, whilst the burial chamber lies to its west.
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The corridor breaks out into a vestibule leading to a longer corridor that is guarded by a portcullis. This second corridor has two turns, but maintains a generally eastward direction and ends in an antechamber that is offset from the burial chamber. The roof of the corridor is unique: the flat roof has a second gabled roof made of limestone on top of it which itself has a third roof made from a layer of reeds. The burial and ante chamber's ceilings were constructed with three gabled layers of limestone.
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The decoration is cultural and designed as an antechamber to the Louvre. Developed in partnership with the latter, it showcases reproductions of statues from Antiquity or the Middle Ages, displayed directly on the platforms. Porcelain stoneware wall claddings cover the walls, devoid of advertising, while the floor and tunnel exits are tiled in anthracite gray, the crypt painted white. The backs of the display cases, the alcoves and the pedestals are covered with a dark material to simulate a case, and the ceiling is painted entirely in black.
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Cameron was an active politician who, with the initial aid of his father Simon Cameron, and his political ally Matthew Quay, set up a political machine in the Pennsylvania legislature that ensured Cameron would be reelected to office. Senator Cameron rarely gave speeches, and he was viewed as being judicious, unemotional, and reticent. Cameron disapproved of the popular artful oratory methods used by his contemporaries while his own speeches were forceful and direct. Adopting his father's method, Cameron's strength as a politician relied on working inside the antechamber, committees, and caucuses to obtain his goals.
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The Inkpot Madonna After many years of planning, a thorough renovation of the cathedral began in January 2010, the first since 1960. Along with technical and conservation measures, there were alterations to the design. The floor was lowered to the original level, the Hezilo and Azelin chandeliers were restored to their places in the nave and the high choir, and Bernward Doors were again mounted facing outwards, behind an antechamber, as originally intended. In addition, a bishop's crypt was created.. On 10 January 2010, the cathedral was closed for the work to begin.
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This core was overlaid by casing stones of white Tura limestone, which were stolen in antiquity. At the time of its construction the pyramid stood high, with a base length of and an inclination angle of 52°. In the interior of the pyramid a descending passage led, behind three granite portcullises, to an antechamber, three magazine rooms and the burial chamber. In the burial chamber, pieces of alabaster and a faience bead on a gold thread were discovered, as well as many fragments of what was originally a large sarcophagus of dark grey basalt.
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Cimmino 1996, pp. 288–9; n. 9 Hypogea of the main pyramid (left) and of the four northern small pyramids (right) From the entrance, located on the western side of the pyramid, a long descending hallway led to an antechamber which connects a storeroom on the west wall to the king's chamber on the east wall, the latter made from granite and provided with a granite sarcophagus on the western side, and a niche for the canopic chest on the southern one. The granite walls of the burial chamber were whiten with gypsum.
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The burial mastaba of Kekheretnebti is nineteen meters long and fifteen meters wide and built of limestone and brick. It has a single entry on its eastern side which gives access to a suite of rooms arranged in a row. Despite having been looted by tomb robbers in ancient times, upon excavation the mastaba was found to be relatively well preserved and in places still had roofing blocks in position. The tomb consisted of an antechamber, two offering rooms and a serdab which contained the funerary statue of the princess.
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George Michell describes a characteristic feature as "the obscuring of the outer profile of the building by multiplying the projections of the walls and superstructure; these move restlessly from one plane to another, relying upon effects of light and shade to lend the building its solidity and shape."Michell, 146-147 There are generally prominent sukanasa projections from the tower on the roof over an antarala antechamber to the sanctum. The mandapa is generally larger than the sanctum and its vimana. Further open mandapas may be larger still.
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Chamber of the Federal Council (Bundesrat)Located next to the Chamber of the former House of Lords is the current Chamber of the Federal Council of Austria (Bundesrat). The room was used by the Lords as an antechamber and informal meeting room. After the end of the Austro-Hungarian Empire and the new republican constitution in 1920, the former Lords room became the Chamber for the Federal Council. The seating arrangement of the present Chamber of the Federal Council is similar to the other two great chamber halls.
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Some stone cartouches bearing statements from Charles Eugene are also found on the lower facade of the main building. Immediately to the west of the White Hall is the six rooms of the Ducal Apartment, which was used for impressing visitors. The first is an antechamber decorated with green and gold-painted stuccowork. Following this is the Marble Hall, the only room of the suite in the Neoclassical style and where Charles Eugene greeted guests, which leads into the Palm Room, so named for the golden stucco palm trees that frame its windows.
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The first part is the sinus venosus, a thin-walled sac that collects blood from the fish's veins before allowing it to flow to the second part, the atrium, which is a large muscular chamber. The atrium serves as a one-way antechamber, sends blood to the third part, ventricle. The ventricle is another thick-walled, muscular chamber and it pumps the blood, first to the fourth part, bulbus arteriosus, a large tube, and then out of the heart. The bulbus arteriosus connects to the aorta, through which blood flows to the gills for oxygenation.
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He prefers > to dine with princes rather than work. He neglected his affairs for his > pleasures. He leaves officers waiting too long in his antechamber; he speaks > to them disdainfully and sometimes harshly. Barbezieux was twice married, firstly in 1691 to Louise de Crussol (died 1694), daughter of Emmanuel II de Crussol, Duc d'Uzès, with whom he had one daughter, Anne-Catherine-Eléonore (died 1716), secondly in 1696 to Marie- Thérèse d'Alègre (died 1706), daughter of Yves d'Alègre, with whom he had two daughters, Marie-Madeleine and Louise Françoise Angélique Le Tellier (died 1718).
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The passage is further reinforced with granite in three places. The layout of the chambers in Pepi I's pyramid are the same as those in his predecessor's pyramids: the antechamber sits on the pyramid's vertical axis, with a room containing three recesses – called the serdab – to its east, and the burial chamber to its west. The ante- and burial- chambers had gabled roofs made from limestone blocks set three layers deep with sixteen blocks in each layer. The ceiling is estimated to have weighed around five thousand tons.
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They descend steps to an underground river with large stone statues at intervals of death gods from various cultures, like Yen-wang-yeh, Emma-hoo, Gilgamesh, Osiris and others. They climb a steep flight of steps and emerge in an antechamber with four statues holding four canopic jars in Chinese style and four doors. The first door leads to the tomb, where they discover that Tou Wan's Hairpin, which had a piece of the Stone, is indeed missing. The next door leads to a room containing the Laughing Prince's medical research.
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The works began in 1628, according to traces of Jorge Manuel Theotocópuli, at that time, the Cathedral, the Alcázar and the City Hall of Toledo's main master. There is a portico or antechamber outside the church itself, at the foot of the gospel wall, with the only access from the outside and the belfry. This last, all in brick, is a work of 1622, designed and executed by Francisco de Espinosa, master of works and municipal alarife. The aforementioned access, from the outside, is carried out through a portal-altarpiece in stone, made around 1620.
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On the north, east and west sides the burial chamber is surrounded by nine small storage rooms leading into one another; on the south face is a long antechamber. A passageway runs between the inner structures and the outer wall. Excavations under the supervision of the Deutsches Archäologisches Institut Kairo (DAIK) in 2001 and 2004 revealed that the tomb had been erected and completed in a great hurry. The building works took place in a single phase; the walls were plastered roughly; and the monument had collapsed several times over the centuries.
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The crowd in the hall backed Hitler with a roar of approval. He finished triumphantly: > You can see that what motivates us is neither self-conceit nor self- > interest, but only a burning desire to join the battle in this grave > eleventh hour for our German Fatherland ... One last thing I can tell you. > Either the German revolution begins tonight or we will all be dead by dawn! Hitler returned to the antechamber, where the triumvirs remained, to ear- shattering acclaim, which the triumvirs could not have failed to notice.
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On his way back, Hitler ordered Göring and Hess to take Eugen von Knilling and seven other members of the Bavarian government into custody. During Hitler's speech, Pöhner, Weber, and Kriebel had been trying in a conciliatory fashion to bring the triumvirate round to their point of view. The atmosphere in the room had become lighter, but Kahr continued to dig in his heels. Ludendorff showed up a little before 21:00 and, being shown into the antechamber, concentrated on Lossow and Seisser, appealing to their sense of duty.
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The outer walls of the great kiva are to thick, and date to 1062–90. Hawley identified the masonry as Type III, with a crude Type IV veneer covering the bench that postdates the final construction period (1100–16). An by antechamber is attached to the north end of the space; the passageway between them contained a stairway that rose in nine steps from the kiva floor. Though few remains of it were found, the great kiva's roof was most likely flat rather than domed, as was typical of smaller kivas in the canyon.
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They were painted by Edward Matthew Ward and include subjects like Monk Declaring for a Free Parliament and The Lords and Commons Presenting the Crown to William III and Mary II in the Banqueting Hall. Then, mirroring the arrangement at the Lords part of the Palace, is another antechamber, the Members' Lobby. In this room, Members of Parliament hold discussions or negotiations, and are often interviewed by accredited journalists, collectively known as "The Lobby". The room is similar to the Peers' Lobby but plainer in design and slightly larger, forming a cube on all sides.
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There is a protruding chamber with a pillared antechamber and a separate pillared mandapa in front, placed beyond the circumambulatory passage. In the four chambers of stupa were placed colossal stucco images of seated Buddha of which three were found in situ, but the remaining of the north side was possibly replaced by a stone image after the clay image was somehow damaged. All the stucco images are unfortunately broken above the waist. The images are placed over a brick pedestal having traces of painting in red and black pigments.
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For 100 years after the mosque was constructed, Christians were invited to worship in it, but the practice was frowned upon by European church authorities who preferred for adherents of the faiths to remain separate. As Christian access to the tomb became more difficult, the Franciscans were eventually permitted (between 1566 and 1575) to cut a new entrance into the tomb on the north side. At some point the original entrance from the mosque was blocked. This entrance can still be seen in the east wall of the church's antechamber.
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The Morning Drawing Room is hung with French tapestries bought by Charles II, and is used for private ceremonies.Clarke, pp. 39–43. The King's Antechamber, Bedchamber and Closet are laid out along the east side of the palace. The King's Bedchamber, at the centre of the east façade, has the finest of the 17th-century plaster ceilings, augmented by paintings of Hercules by Jacob de Wet II. The 17th-century bed was made for the Duke of Hamilton, although it was long referred to as "Queen Mary's Bed" when it occupied the older Queen's rooms.
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Altar Wedge Tomb, County Cork Glantane East Wedge Tomb, County Cork, Ireland A wedge- shaped gallery grave or wedge tomb is a type of Irish chamber tomb. They are so named because the burial chamber narrows at one end (usually decreasing both in height and width from west to east), producing a wedge shape in elevation. An antechamber is separated from the burial area by a simple jamb or sill, and the doorway generally faces west. A distinguishing characteristic of wedge tombs is the double-walling of the gallery.
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The shrine building often includes an circumambulatory passage for parikrama, a mandapa congregation hall, and sometimes an antarala antechamber and porch between garbhagriha and mandapa. There may further mandapas or other buildings, connected or detached, in large temples, together with other small temples in the compound.These are the usual terms, but there are many variants or different ones in the many Indian languages, ancient and modern. Hindu temple architecture reflects a synthesis of arts, the ideals of dharma, beliefs, values and the way of life cherished under Hinduism.
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The external Nandi pavilion is aligned on an east-west axis, as are the mantapa and antechamber. The temple site forms a rectangle consisting of fused squares bounded by walls, which are decorated with carvings. Within the compound are smaller shrines, of which there were once 32, based on the foundation footprint layout, but most have since been lost. The entrance leads to a mantapa with 18 columns (4-5-aisle-5-4, with a 4x4 set forming the inner mantapa and two leading to the darshana space).
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After only one season in the antechamber of the Romanian top-fligh, the team near the Danube relegated again, this time as the weakest team, occupying the last place. After relegation, Chimia Turnu Măgurele played constantly at the level of the third tier and was ranked 8th (1984–85), 4th (1985–86, 1986–87 and 1990–91) 5th (1987–88), 14th (1988–89), 11th (1989–90) and 12th (1991–92). After this last ranking, the team based in Turnu Măgurele was relegated to Divizia D, for the first time in the last 25 years.
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Although the basic form of the 1933 structure had been retained, many new areas have been added. A new hall 31 feet × 27 feet, suitable for small religious functions, has been added and over this, another story has been added for administrative offices. While most of the sculptures have been preserved, some new ones have also been added, the statues of the nine forms of Sakthi now surround the outer walls of the sanctum. The inner walls of the sanctum, antechamber and the flooring of the whole temple have been changed.
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In one caper, he attempts to seduce a married woman at Carnival in Rome, but the other William stops him. The enraged protagonist drags his "unresisting" double—who wears identical clothes— into an antechamber, and, after a brief sword fight in which the double participates only reluctantly, stabs him fatally. After William does this, a large mirror suddenly seems to appear. Reflected at him, he sees "mine own image, but with features all pale and dabbled in blood": apparently the dead double, "but he spoke no longer in a whisper".
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A floor plan with a modern vestibule shown in red. A vestibule , also known as an arctic entry, is an anteroom (antechamber) or small foyer leading into a larger space such as a lobby, entrance hall, passage, for the purpose of waiting, withholding the larger space view, reducing heat loss, providing space for outdoor clothing, etc. The term applies to structures in both Modern and Classical architecture since ancient times. In Modern architecture, vestibule typically refers to a small room next to the outer door and connecting it with the interior of the building.
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In the centre of the floor is an octagonal dining room designed in a rather strict Neoclassical style: green and grey faux marble wall paintings with golden festoon-like decoration. Above the doors are painted reliefs depicting Mercury, Venus and Ceres. The cocklestove was made by the Marieberg cocklestove factory; Johan Liljencrantz was the main owner of the factory and seventeen of only approximately thirty known such stoves are located in Sturehov manor. The cocklestove in the so-called yellow antechamber, also on the first floor, is generally considered to be the most accomplished cocklestove in Sweden.
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His reputation grew to the point of being appointed court painter in 1757, in which he participated in the decoration of the Royal Palace of Madrid with allegorical painting on the ceiling of the antechamber of the Queen. Not long after, in 1765, Velázquez was promoted to the position of director of the Academy of San Fernando. He worked the rest of his life along with Francisco Bayeu y Subías and other painters in developing cartons for the Royal Tapestry Factory under the direction of Anton Raphael Mengs. His son Zacarías González Velázquez also went on to become a painter.
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The position of Walpole was the fruit of his father's support for the Hanoverian dynasty and he knew he was in danger, saying: :"Now comes the Pretender's boy, and promises all my comfortable apartments in the Exchequer and Custom House to some forlorn Irish peer, who chooses to remove his pride and poverty out of some large old unfurnished gallery at St. Germain's. Why really, Mr. Montagu, this is not pleasant! I shall wonderfully dislike being a loyal sufferer in a threadbare coat, and shivering in an antechamber at Hanover, or reduced to teach Latin and English to the young princes at Copenhagen".
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The action takes place in Paris in an unspecified year in the 1520s. The first act is set during a nocturnal party at the Louvre palace; the second in the deserted cul-de-sac Bussy; the third in an antechamber of the King at the Louvre, then the fourth and fifth acts on the banks of the river Seine by the Château de la Tournelle. The hero of the play, Triboulet, is a historical character during the reigns of Louis XII and François I of France. Triboulet is a court jester, through whose words Hugo attacks contemporary society.
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Tomb wall depicting Nefertari The tomb of the most important consort of Ramesses was discovered by Ernesto Schiaparelli in 1904. Although it had been looted in ancient times, the tomb of Nefertari is extremely important, because its magnificent wall painting decoration is regarded as one of the greatest achievements of ancient Egyptian art. A flight of steps cut out of the rock gives access to the antechamber, which is decorated with paintings based on chapter 17 of the Book of the Dead. This astronomical ceiling represents the heavens and is painted in dark blue, with a myriad of golden five-pointed stars.
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The beams disperse weight from the superstructure onto either side of the passageway, preventing collapse. Thieves have ransacked the chambers of its limestone making it impossible to properly reconstruct, though some details can still be discerned. Namely, that (1) both rooms were oriented along an east-west axis, (2) both chambers were the same width; the antechamber was shorter of the two, and (3) both chambers had the same style roof, and are missing one layer of limestone. Overall, the substructure is badly damaged: the collapse of a layer of the limestone beams has covered the burial chamber.
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Capital Transport Publishing. Because of this proximity, a specific cultural decoration was put in place in September 1968, at the initiative of André Malraux, then Minister of Culture, in order to transform the station into an antechamber of the museum. On the platforms, copies of works of art from the Louvre museum are exhibited, while under the crypt were a historical plan of the Louvre castle and reproductions of old engravings from the palace. The platforms, devoid of advertising, are covered with Burgundy stone tiles, and the metal deck has a false ceiling above the platform.
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Leaders of the Tablighi Jamaat have denounced Al-Qaeda. According to Alex Alexiev, "perhaps 80% percent of the Islamist extremists have come from Tablighi ranks, prompting French intelligence officers to call Tablighi Jamaat the 'antechamber of fundamentalism.'"Le Monde (Paris), 25 January 2002. Tablighi members who have been charged with terrorism include: Zacarias Moussaoui (charged in the United States in the 11 September attacks), Hervé Djamel Loiseau (French citizen found in Afghanistan), and Djamel Beghal (Algerian-born French citizen and Al Qaeda member who was convicted of plotting to blow up the U.S. Embassy in Paris), Syed Rizwan Farook.
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Helvetia - entrance to the tomb The mound is located 0.5 km southeast of the town of Shipka. The tomb was discovered on 28 July 1996 during regular archaeological excavations led by Senior Research Associate Georgi Kitov, Ph. D. The tomb consists of a long, wide corridor, an antechamber and a rectangular chamber. The Dromos (Greek Δρόμος) was built from different-sized crushed and processed stones based on mud soldering and contacts with the façade by a joint. Its floor and the floors of both rooms are covered with thick lime plaster whose level shows an appreciable slope of the southeast exit.
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The second sweat is commonly the first time venik is used, but some people wait until the third session. After each sweat, cooling off is repeated and patrons use the break to drink beer, tea, or other beverages, play games or relax in good company in an antechamber to the steam room. Common commercial banyas typically have three rooms: a steam room opening into a large area with showers, stone benches and sometimes small pools which is preceded by a large dry room to undress. Banyas might have a bar for people to have drinks or even light meals afterwards.
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Ludwigslust: the entrance front facing the Platz The interiors of Ludwigslust are more fully neoclassical. The grand reception rooms are on the piano nobile, or Festetage ("Reception floor"), above a low ground floor that contained guestrooms. The Goldener Saal ("Gilded Hall") in the central block rises through two storeys, with a colossal order of Corinthian columns and massive decorations carried out in stucco and the innovative moldable and modelable paper-maché called Ludwigsluster Carton; it is used today for summertime concerts. One flanking range was semi-public, with a sequence of antechamber, salon and audience chamber, and a gallery.
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It was filmed in black-and-white, and features Carey walking along the streets of New York, watching several people, ranging from a small child to an elderly man, lonely and in need of a friend. Additionally, aside from several scenes of Carey and a large church choir in a large antechamber, the video is known as the first video in which Carey appears with straightened hair. Throughout her career up until that point, Carey had famously sported long, auburn curls. However, the video presented Carey's first image makeover, where she appears with bangs and a long straightened hairstyle.
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There was a room for "Madame", another for "Monsieur", an antechamber, a boudoir, a study, a library, a smoking room and three music rooms, four halls and an art gallery. Delamarre created two large reliefs for the Roux-Spitz "Hall de Collection" or museum room, entitled "Persée et Andromède" and "‘Nessus et Déjanire" and two tympani for Follot's "Antichambre" entitled "Pastorale" and "Courtisane". Delamarre also executed reliefs on the faces of a Roux-Spitz designed fountain in one of the exhibition's gardens, that designed by the landscape gardener Joseph Marrast in the avenue Cours-La-Reine.
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A barrier of this type has not been verified in any other building, but appears to have been included due to the lack of protection for the tomb from above. The corridor terminates at an antechamber, with a burial chamber lying further to the west. The rooms are oriented along the east-west axis and each apartment was originally covered by a gabled fine white limestone ceiling. These have been severely damaged by stone thieves quarrying inside the pyramid who had easy access to the chambers from the roof terrace where they dug a ditch and set up a workshop.
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Near the Heliodorus pillar site, his team discovered Sapta-Matrikas (seven mothers of the Shaktism tradition of Hinduism), dating to the 5th-6th century CE. These discoveries suggest that Besnagar was probably an important ancient temples and pilgrimage site. The 1963–65 excavations revealed that the Heliodorus pillar was a part of an ancient temple site. The archaeologists found an ancient elliptical foundation, extensive floor and plinth produced from burnt bricks. Further, the foundations for all the major components of a Hindu temple – garbhagriha (sanctum), pradakshinapatha (circumambulation passage), antarala (antechamber next to sanctum) and mandapa (gathering hall) – were found.
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The ground floor contained two guardrooms, each wide, and latrines, with spiral staircases in the corner of the gatehouse running up to the first floor, where relatively well-lit chambers with fireplaces probably accommodated the garrison's officers.; The staircases continued up to the second floor, containing the castle's great hall, an antechamber and bedchamber, originally intended for the use of Thomas of Lancaster and his family. Four towers extended above the gatehouse's lead- covered roof for an additional two storeys of height, giving extensive views of the surrounding area. This design may have influenced the construction of Henry IV's gatehouse at Lancaster Castle.
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In 1767, weary of the squabbling, the "Porte" issued a firman that divided the church among the claimants. A fire severely damaged the structure again in 1808, causing the dome of the Rotunda to collapse and smashing the Aedicule's exterior decoration. The Rotunda and the Aedicule's exterior were rebuilt in 1809–10 by architect Nikolaos Ch. Komnenos of Mytilene in the contemporary Ottoman Baroque style; the shrine around the tomb was also replaced. The interior of the antechamber, now known as the Chapel of the Angel, was partly rebuilt to a square ground plan in place of the previously semicircular western end.
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Four kinds of den have been described; simple earth dens with one entrance (usually remodeled striped hyena or porcupine dens); complex cavernous earth dens with more than one entrance; simple cavernous dens excavated under or between rocks; and complex cavernous dens with several other dens in the vicinity, some of which are interconnected. Dens are typically located under dense scrub or on the banks of dry rivers or creeks. The entrance to a dhole den can be almost vertical, with a sharp turn three to four feet down. The tunnel opens into an antechamber, from which extends more than one passage.
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At the far end of the courtyard was a transverse corridor creating an intersection between the columned courtyard at its east and inner temple to its west, with a cult pyramid to the south, and a larger courtyard surrounding the pyramid to the north. The inner temple is accessed by a small staircase leading into a ruined chapel with five statue niches. The chapel and offering hall were surrounded by storerooms; as elsewhere in the temple, there were more storerooms to the north than south. The antichambre carrée a square antechamber separated the chapel from the offering hall.
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Thutmose dedicated far more attention to Karnak than any other site. In the Iput-isut, the temple proper in the center, he rebuilt the hypostyle hall of his grandfather Thutmose I, dismantled the red chapel of Hatshepsut, built Pylon VI, a shrine for the bark of Amun in its place, and built an antechamber in front of it, the ceiling of which was supported by his heraldic pillars. He built a temenos wall around the central chapel containing smaller chapels, along with workshops and storerooms. East of the main sanctuary, he built a jubilee hall in which to celebrate his Sed festival.
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He was also responsible for imprisoning Cid after he would not divulge the location of his hidden airship. The initial battle with Cagnazzo is fought in the throne room of Baron. His battle tactics primarily consists of drawing water around him to unleash a powerful tsunami, although when struck by lightning, Cagnazzo will retreat into his shell and attempt to restore his lost health. Upon his defeat, he attempts one final attempt at killing the party by crushing them between the walls of the antechamber to the King's throne room, but this is foiled by the sacrifice of Palom and Porom.
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The Shikhara or Vimana (temple tower), which rises above the sanctum sanctorum, has a four-tiered, mastaka and is crowned by a kalasha made of gold. The tower itself is built with parallel ridges and furrows. The lower part of the tower is flanked by four smaller identical towers, which are known as the angashikaras. The garbagriha, where the main deity is deified in the form of a reversed Shiva linga, is interconnected with an antarala, a small antechamber, which has a roof known as do-chala, which is akin to a typical hut built in Assam.
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The temple layout consists of a garbhagriha (Nijamandira or Harigraha) and an antarala (an antechamber). The main deity deified in the sanctum is of Dwarkadeesh, which is known as the Trivikrama form of Vishnu and is depicted with four arms. The Dwarakadhisa Temple is also the location of Dvaraka Pitha, also called Sharada Matha/Peeth and "western peeth"), one of the four peeths (Sanskrit: "religious center") established by Adi Shankaracharya. Rukmini Devi Temple Gomti Ghat consists of steps leading to the Gomti River, which is also a holy place for pilgrims to take a dip in the river, before visiting Dwarakadish temple.
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Moss and mold formed, and in 1927 the now unthinkable method of spraying hot steam was used to clean the sculptures. After World War II, in the 1960s, President Park Chung Hee ordered a major restoration project. The problem of temperature and humidity control was resolved to an extent by using mechanical systems. The wooden superstructure built over the antechamber remains a subject for debate for many historians who believe Seokguram originally did not have such a structure blocking the view of the sunrise over the ocean, and cutting off the air flow into the grotto.
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Directly north of the Lords Chamber lies the Peers' Lobby, an antechamber where Lords can informally discuss or negotiate matters during sittings of the House, as well as collect messages from the doorkeepers, who control access to the Chamber. The Lobby is a square room measuring on each side and in height, and one of its main features is the floor centrepiece, a radiant Tudor rose made of Derbyshire marbles and set within an octagon of engraved brass plates.Wilson (2005), p. 16. The rest of the floor is paved with encaustic tiles featuring heraldic designs and Latin mottoes.
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The walls and floors of the chamber and antechamber were plastered with lime. The wall carvings of various deities The walls of both the terraces are decorated with mouldings and terracotta plaques which testify the high excellence of terracotta art flourishing in the region during Pal period (8th to 12th centuries). The plaques depict many Buddhist deities like Buddha, Avalokiteshvara, Manjusri, Maitreya, Jambala, Marichi, and Tara, scenes related to Buddhism, some social and hunting scenes, and a few Hindu deities like Vishnu, Parvati, Ardhanarisvara and Hanuman. Many human figures, like those of ascetics, yogis, preachers, drummers, warriors, archers, snake charmers, etc.
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Title which would then pass down to the first born of each generation. The papal title of Roman Prince was later conferred in 1721 also to be held by the first born of each generation. Since 1808 the head of the family is also to serve as Grand Master of the Sacred Apostolic Hospice, which was an hereditary official of the Pontifical Household. He was a Participating Privy Chamberlains and the sole lay member of the Noble Privy Antechamber, as well as a Participating Privy Chamberlains of the Sword and Cape (who were all laymen, traditionally holding hereditary posts).
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Henrietta Muir Edwards; J. C. Kenwood, daughter of Judge Emily Murphy; Mackenzie King; Nellie McClung. (Rear row, L–R): Senators Iva Campbell Fallis, Cairine Wilson. The Famous Five have been commemorated with individual and group plaques in the foyer and antechamber of Canada's Senate, and two identical sculptures by Canadian artist Barbara Paterson, one on Parliament Hill in Ottawa, the other at the Olympic Plaza in Calgary. The sculpture on Parliament Hill was unveiled on October 18, 2000, in a public ceremony that included French and English singers, Inuit dancers, and speeches by Governor General Adrienne Clarkson and Prime Minister Jean Chrétien.
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The chapel connected to a three niched statuary room to its west, and a long hall to its north. The hall to the north housed two pink granite false doors, below one of which was a sloped passage into the tomb substructure comprising an antechamber and a burial chamber bisected in two. In the east half of the burial chamber were entrances to six storage magazines, and two more pink granite false doors in its west wall. The west half of the chamber was once occupied by a large alabaster sarcophagus, fragments of which constituted the only significant finds by Selim Hassan.
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Given the task of delivering a message to a servant in the House Absolute, the Autarch's seat of power, Severian and Jonas set off to the north. They are attacked by a flying creature that feeds on the heat and life force of living beings and escape only by tricking the creature into attacking and killing a nearby soldier instead. Severian feels guilty and, having come to suspect the Claw has healing powers, uses it to bring the soldier back to life. He and Jonas are captured by guards of the House Absolute and thrown into an antechamber where prisoners are held indefinitely.
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The tomb had been thoroughly robbed in antiquity, and Carter found the entrance passage partly filled with debris and broken artefacts. The blocked and painted doorway leading to the first pillared hall had been penetrated by robbers. More tangible evidence of their presence was encountered in the hall: a rope made of palm fiber was still secured around one of the columns, with its end reaching the bottom of the well shaft. Evidence of double-sealing was encountered in the antechamber; seals bearing the name of Horemheb occurred in addition to the original 'jackal over captives' necropolis seal on a partially blocked doorway.
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The male weaves the structure of the nest using long strips of leaf, that he has torn from palms or large grass species such as Arundo donax. The nest is roofed, ovoid or kidney-shaped, internally consisting of a nesting chamber that is separated by a ground sill from an antechamber, that has the entrance of the entire nest at the bottom. On the inside, the ceiling is made of strips of grass or other leaves, which are simply inserted instead of woven-in. The floor on the inside is lined by short, thatched strips of palm, grass blades or heads, and feathers.
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The player starts in an antechamber that contains four walls. One is a diegetic menu to set the various game options as well as a countdown timer starting at ninety minutes. A second wall provides a map of the game's space that will fill in as the player visits specific rooms, highlighting passages the player has yet to explore, and allows the player, upon return to this room, to jump to any room they've visited before. A third wall shows a series of cartoonish iconographs and obfuscated hint text that are added as the player finds these on walls of the puzzle space.
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In contemporary usage, a vestibule constitutes an area surrounding the exterior door. It acts as an antechamber between the exterior and the interior structure. Often it connects the doorway to a lobby or hallway. It is the space one occupies once passing the door, but not yet in the main interior of the building Although vestibules are common in private residences, as a modified mud room, they are especially prevalent in more opulent buildings, such as government ones, designed to elicit a sense of grandeur by contrasting the vestibule's small space with the following greater one, and by adding the aspect of anticipation.
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Richard Vyse, who first visited Egypt in 1835, discovered on 28 July 1837 in the upper antechamber the remains of a wooden anthropoid coffin inscribed with Menkaure's name and containing human bones. This is now considered to be a substitute coffin from the Saite period. Radiocarbon dating on the bones determined them to be less than 2,000 years old, suggesting either an all-too- common bungled handling of remains from another site, or access to the pyramid during Roman times. Deeper into the pyramid, Vyse came upon a basalt sarcophagus, described as beautiful and rich in detail with a bold projecting cornice, which contained the bones of a young woman.
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Finally, Sisters Jane, Teresa and Helen engage in three-way sex and violate Sister Ann after tying her to a cross. Elizabeth writhes violently in her cell and, as she dies, is tormented by visions of a crucified woman and Christ's beating Sacred Heart. Mother Elizabeth and an (imagined) demonic Mary Magdalene (who has relapsed from sainthood, back into the sex worker the church once claimed she was) debate desire and chastity within what seems to be a heavenly antechamber. Mary remarks to Elizabeth that, as her convent is full of repressed female desire, the Mother Superior too is enveloped within this voluptuous fold.
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The hôtel was originally built around the end of the 17th century by Jean Dufour, seigneur de Nogent. Typical of residences of this time, it had a courtyard forming a perfect square and two wings projecting off a central body to form a U, all of the same height. Slate-roofed, each of the wings had a passage running through it, with that on the left (preserved today) leading to the kitchens and that on the right to the stables. In the right wing was to be found an antechamber, a grand staircase, a dining room, another room of the stables, and an attic.
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Antechamber: Decorated in a Neoclassic mode, the Louis XV style is evident in the wooden panels: polished oak with frames and carvings, the ceiling – with central lighting – is decorated with plaster frames. This is a room that connects with four other rooms and the area of the stairs and the lift. The Great Hall (Renaissance): It is the biggest apartment of the residence and the only one with double height and an axis around which all the activities of the house took place. The ceiling is decorated with caissons and patterned glass; above: a hidden structure of big iron entablature to support five big chandeliers.
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Born in 1774 in Paris, Renault was the daughter of a paper maker, and Robespierre's name was frequently printed upon his products and a frequent part of her early life. Renault approached the home of Robespierre on the evening of 22 May 1794, carrying a parcel, a basket, and extra clothing under her arm that hid her weapons. She was able to successfully enter Robespierre's home due to her young countenance and age, being only about 19 or 20 years old at the time. Robespierre's guards initially allowed Renault to see him and but required her to wait for several hours inside the deputy's antechamber.
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After passing through the concrete passageway a visitor to the bunker would emerge in a light lock, access to the bunker was through a door in the wall immediately in front of them. Stepping through the door, a visitor would find him or herself confronting a guard, who was no doubt tasked with vetting the identity of anyone who gained access to the bunker. To the left of the entry door stretched an almost 8 metres long corridor which led to the Army Buffet, with access to AWAS Latrine, located at its southern end. Immediately in front of the entry door (across the passage) was an antechamber.
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The shrine is now empty, and whether it contained a structural simhasana or a dagoba is difficult to say. Upon the opposite side of the gulley is an immense excavation so ruined by the decay of the rock as to look much like a natural cavern; it has had a very long hall, of which the entire front is gone, a square antechamber with two cells to the left and three to the right of it. The inner shrine is empty. In front has been a brick dagoba rifled long ago, and at the west end are several fragments of caves; the fronts and dividing walls of all are gone.
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It is curious that in the access shafts and antechamber of the Gaudo tombs, pottery was also found, but this was of a much coarser grade, a simpler form, larger dimensions, and was sparsely decorated. Unfortunately, since the Gaudo people are known almost exclusively through their tombs, little is known about the many other facets of their culture, which may have been equally fascinating. Some other Gaudo sites are known throughout Campania however, such as what is thought to be a Gaudo dwelling in Taurasi, and the necropoles at Eboli and Buccino. A large collection of Gaudo artifacts is on display at the National Archeological Museum of Paestum.
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Archaeologists confirmed that the tomb belonged to an influential person named Khuwy, who lived in Egypt during the 5th Dynasty. "The L-shaped Khuwy tomb starts with a small corridor heading downwards into an antechamber and from there a larger chamber with painted reliefs depicting the tomb owner seated at an offerings table", reported the head of the excavation team Mohamed Megahed. According to CNN, it is surprising that there are some paintings that maintained their brightness over a long time in the tomb mainly made of white limestone bricks. Another interesting fact is that the tomb had a tunnel entrance generally typical for pyramids.
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The difference is in the antechamber, which is an add-on in the Ain Dara temple. The size of the Solomon temple was by while that of the Ain Dara is long by wide without side chambers. Other similarities include: location on a high raised site overlooking a city; erected on a raised platform, with a narrow portico and a roof supported on pillars flanked by reliefs on the walls, and carvings of similar motifs; and the raised podium. In brief, 33 of the architectural elements found in Ain Dara are tallied with 65 of the features mentioned in the Biblical description of Solomon's Temple.
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The substructure of the pyramid was very similar to Unas's and Djedkare Isesi's; it had a descending corridor and horizontal passage guarded at about the middle by three granite portcullises, leading to an antechamber flanked to its east by the serdab with its three recesses and to its west by the burial chamber containing the sarcophagus. The walls of the chambers and a section of the horizontal passage were inscribed with Pyramid Texts, as in Unas' pyramid. The mortuary temple, with the exception of its entrance, conforms to the same basic plans as his predecessors. The complex contained a cult pyramid to the south-east of the pyramid with base length .
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After many years of study at the Academy of Fine Arts of Florence, he graduated with the painting The Prodigal Son Weeps For His Errors (circa 1813, private collection). The Prodigal Son Weeps for His Errors In 1815, Biscarra moved to Rome with a stipend from King Victor Emmanuel I of Sardinia. There, he studied at the Accademia di San Luca and became friends with the leading artists of Roman neoclassicism, including Antonio Canova, Bertel Thorvaldsen, Tenerani, Vincenzo Camuccini (his principal instructor) and several others. He gained great notoriety in Rome with The Remorse of Cain (1819, antechamber of the Superintendence, in the Palazzo Carignano).
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Cape St Albans (also called Cape St Alban in some sources) is a headland in the Australian state of South Australia located on the north coast of the Dudley Peninsula on Kangaroo Island in the gazetted locality of Willoughby about south-east of the town of Penneshaw. The cape is described as lying "about N(orth) of Cape Willoughby and extends in a N[ortherly] direction as a narrow neck of land." The cape serves both as the east headland of Antechamber Bay and as the west headland of Moncrieff Bay. It was named after the town of St Albans in Hertfordshire by Thomas Lipson on 21 March 1850.
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The roof above the Marble Hall, though curved, has no visible supports. This was achieved by cantilevering its weight upon the entablatures at the top of the walls of the Marble Hall. Queen Charlotte's bed To the east of the Marble Hall is Queen Charlotte's apartment, originally the suites intended to house Prince Frederick Louis and Princess Henrietta Maria. When Charlotte joined Frederick I in residence at Ludwigsburg in 1798, the separating walls were removed to form one suite. Thouret only made small changes to the queen's suite from 1802 to 1806, principally adding damask to the primary antechamber and to the assembly and audience rooms.
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The Nalanda inscription is an ancient Buddhist inscription located in Nalanda, within the present day Bihar state of Northeastern India. It has been dated to 860 CE. The inscription talks about king Devapaladeva of Bengala (Pala Empire) who had granted the request of Sri Maharaja of Suvarnadvipa, Balaputra, to build a Buddhist monastery at Nalanda. Balaputra was mentioned as the son of Samaragrawira, grandson of Śailendravamsatilaka (the jewel of the Śailendra family) with stylized name Śrīviravairimathana (the slayer of enemy hero), king of Java that married Tārā, daughter of Dharmasetu. It was found by Hirananda Shastri in 1921 in the antechamber of Monastery 1 at Nalanda.
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The temple proper might be seen as divided in to three distinct parts: central, north, and south. The central part is indicated by a small rectangular anteroom (6.5 by 3.5 m), many of the door jambs including those of the antechamber include inscriptions, such as 'given life like Ra forever'. A 12.5 by 14.5 m hall follows the anteroom from which is entered via a 3.5 m wide door in the center of the front wall of the hall. There is evidence the ceiling of this chamber was decorated with yellow stars on blue background, whereas the walls today show only the appearance of a white stucco over mud plaster.
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These are known as wedge-shaped gallery graves. The ceilings of wedge-shaped gallery graves often sloped toward the rear, and a sill of stone set some distance inside the away from the entrance or one or two slabs set upright in the earth defined a sort of antechamber. The wedge-shaped gallery grave was usually topped by a cairn (covering of stones) rather than an earthen mound (or "tumulus"), although an earthen mound was sometimes used. The cross-sectional shape of the cairn could be round, oval, or D-shaped, and often a kerb (ring of stone) was used to help revet the cairn and keep it in place.
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In 1914, Willis Polk began grading the great terraces planned by Duchêne, sending progress photographs to the architects and to the owners. Polk began to build the reinforced concrete superstructure he had designed, creating the infill walls with brick, finishing them with concrete stucco, sanded and scored to resemble natural limestone. The Dining Room, photographed by Jack E. Boucher for HABS in August 1974 In mid-1916, the elaborate interior elements began arriving on the site. The house as completed had ninety-eight rooms, including nine bedrooms and baths for the owners and their guests, each with an antechamber to guarantee quiet and privacy.
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After that, two other chambers are connected by a passage with a second, still unsealed blocking. After the third chamber, a stairway and then a corridor leads to the antechamber just prior to the large burial chamber: this room, partially covered by an inverted V-shaped ceiling, is entirely filled by a huge sarcophagus-vault, which was carved from a single block of quartzite. The never-used sarcophagus lid, a 42-ton quartzite slab, still awaits to be fitted in the chamber. All exposed quartzite, which was built in the pyramid, had been painted with red paint and sometimes also decorated with vertical black stripes.
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Jain Narayana temple The Jaina temple at Pattadakal was built during the 9th century, possibly with sponsorship from the Rashtrakuta King Krishna II or the Kalyani Chalukyas. Unlike the other nine temples, the Narayana temple lacks Hindu deities and intricate panels of the other nine, but instead has a statue of a Jina carved into the north side kapota eave.Jaina Temple , ASI India (2011) Like the Hindu temples, this temple also features a square sanctum, a circumambulatory path, an antechamber, a mantapa and a porch. The mantapa is divided into seven bays at the north and south walls, with narrow niches containing seated Jinas.
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Ward continued to paint Hogarthian versions of episodes from British history throughout the 1860s, notably Hogarth's Studio in 1739 (1863; York Art Gallery) the Antechamber at Whitehall During the Dying Moments of Charles II (1865; Walker Art Gallery, Liverpool). In the 1870s he painted some modern-life genre subjects, but towards the end of the decade began to suffer painful illness and depression. On 10 January 1879 he was found raving on the floor of his dressing-room, his throat cut with a razor; he was shouting, "I was mad when I did it; the devil prompted me".The Times, 18 January 1879, p.
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Among the women writers she knew were Concepción Jimeno Gil, her younger friend Blanca de los Ríos, , , and Emilia Pardo Bazán. She started to appear at the court, invited to recite great Spanish poetry but also to declaim her own works. Casanova was particularly appreciated by the king himself. One anecdote has it that even the prime minister Antonio Cánovas was kept waiting in the antechamber while Alfonso XII could have not brought himself to interrupt Casanova reciting poetry.Meissner, Karol, Las tres muertes de Sofía Casanova, [in:] Galeon service [retrieved May 24, 2019] In 1885 Casanova published her debut volume, a collection of poetic pieces titled Poesias.
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The entrance and queue line when it was known as Tomb Raider: The Ride In the attraction's Tomb Raider: The Ride incarnation, the attraction's entry plaza featured a special edition Land Rover Defender parked by the ride's entrance to represent Lara Croft's presence at the site. Atmospheric music (some sampling the movie's score) played throughout the plaza and into the queue. Upon entering the building, guests found themselves walking on catwalks over artifacts and rubble while passing under ceilings supported by a seemingly temporary bamboo structure. A large antechamber, featuring large stone monkey warrior statues from the film, sectioned off one cycle's worth of guests into three rows.
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The tractate describes how the Temple was divided into three halls: the Ulam (Antechamber), the Kodesh or Heichal (Inner Sanctuary); and the Kodesh Hakedoshim, the Holy of Holies. The Kohen Gadol (high priest) entered the Holy of Holies only once a year on the holiest day of the Jewish year, Yom Kippur. During the First Temple era, the Ark of the Covenant containing the tablets of the Ten Commandments and the Torah scroll written by Moses is said to have stood in the Holy of Holies. During the Second Temple era, the Holy of Holies was empty except for the large stone called the Foundation Stone (Evven Hashtiya) on which the Ark had been placed.
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In young colonies this leads to a small chamber about 15 cm below, which is situated to the right or left of a gallery. When the colony increases new chambers are formed by piercing through the first. Colonies do not exceed 200 individuals, and a nest thus consists of up to three fungus-growing chambers opening into the first one, which is then used as an antechamber, where material brought in by workers is deposited prior to bringing it into the growth chambers, which are about 6 cm in diameter. Small roots growing into them are not cut away but used to hang the gardens on, which resemble a coarse grey sponge.
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Stepped boulevard design advocated by Eugène Hénard to create more green space in the city The staff of the Musée social had diverse views, but were generally in favor of reform, and were influential in inspiring many parliamentary bills. At one time the institute was called "the antechamber of the House." The most conspicuous role of the institute was in bills related to urban planning, including maintaining a green belt around Pairs where the old fortifications had stood, managing the expansion of cities and providing social housing. Between 1894 and 1914 over 500 members of the Musée social wrote leaflets and brochures, gave lectures, studied conditions abroad and responded to all requests.
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Within the urban environment that characterizes the campus as a whole, NU has carved out a quiet, peaceful space in the centrally located Ell Building for the Spiritual Life Center's Sacred Space. The nondenominational Sacred Space, the Center's main assembly hall, can be configured with carpets, mats or chairs. It has a distinctive ceiling consisting of 3 hanging domes made of overlapping aluminum tiles with an origami-like effect, warm wood floors and accents, and glass-paneled walls that lean outward slightly, their shape and material giving a sense of openness and volume to the space. Faucets for ablution are available in a flanking antechamber, and the Center also contains a smaller meeting space and library.
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The overdoor paintings in the antechamber of the prince-bishop are also 20th-century copies, replacing 18th-century copies of French Baroque masters such as Antoine Coypel, Charles Le Brun, and Charles de La Fosse, that were destroyed in 1944. These paintings represent biblical stories; the lost first copies were made in 1737–1740 in Versailles.Martin, p. 193. The other paintings on the walls belong to the Musée des beaux-arts, including Louis XV offrant la Paix à L'Europe ("Louis XV presenting Peace to Europe", 1737) by François Lemoyne, on display in the Garde-robe du prince-évêque, and La déification d'Énée ("The Deification of Aeneas", 1749) by Jean II Restout, on display in the Chambre du prince-évêque.
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The player ultimately finds his way into the antechamber and discovers the final journal entries of Crabtree, who speculates the Dark Fall may be connected to Hela, the being appointed by the Norse god Odin to guard the souls of the dead, but writes "if so, I fear that this 'guardian' gave up watching over the dead, and has acquired a taste for the living." He had come to believe the Dark Fall sustains itself on the pain of the souls it has trapped. In his final entry, Crabtree worries he may be incapable of imprisoning it. The player enters the central chamber, resisting the Dark Fall, and recites the incantation, imprisoning it, and releasing the trapped souls.
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It had been robbed in the past, likely soon after the burial, and items in precious materials taken, but the thieves had not bothered with the over 800 pottery tomb figures, and the extensive frescos were untouched. The robbers had left in a hurry, leaving silver items scattered around, and the corpse of one of their number. The tomb had a flattened pyramid rising 12 metres above ground, and a long sloping entrance tunnel lined with frescos, leading to an antechamber and the tomb chamber itself, 12 metres below ground level with a high domed roof.Watson, 136–141, Most of the contents, including the frescos, are now in the Shaanxi History Museum.
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The Steinerner Saal (Stone Hall) in the central pavilion, with ceiling frescoes by Johann Baptist Zimmermann and F. Zimmermann and decorations by François de Cuvilliés, is an impressive sight. Acting as a grand hall, it occupies over three floors of the central pavilion of the palace. The central ceiling fresco is Helios in his chariot, accompanied by other gods. Steinerner Saal (Marble Hall) North of the Stone Hall, there is the wood-panelled antechamber, the audience chamber decorated with Brussels tapestries and the former bedroom with the so-called Little Beauty Gallery with the ladies of Versailles, all rooms were remodelled under Maximilian II Emanuel in the style of the Régence but retain their original Baroque ceilings.
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In accordance with Hindu temple architecture, the primary entrance to the temple is situated in the western side of the quadrangle and is the same width as the temple itself, creating grandeur. The entrance is highly reflective of the temple as a whole due to its elaborate decoration and allusion to the deities worshiped inside. The primary shrine is located in a centralised structure (the temple proper) that is thought to have had a pyramidal top - a common feature of the temples in Kashmir. Various wall carvings in the antechamber of the temple proper depict other gods, such as Vishnu, and river goddesses, such as Ganga and Yamuna, in addition to the sun-god Surya.
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They are attacked by a flying creature who feeds on the heat and life force of living beings, and escape only by tricking the creature into attacking and killing a nearby soldier instead. Severian feels guilty and, having a suspicion of the healing powers of the Claw, uses it to bring the soldier back to life. They are then captured by guards of the House Absolute and thrown into an antechamber designed to hold prisoners indefinitely. Severian's Claw heals a wound Jonas receives during the night they spend there; then the pair escape some unknown horror using a pass phrase to open a secret door — Severian remembers the phrase using Thecla's memory.
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An example of a Gaudo Culture tomb, made up of an access shaft with antechamber, from which branch off two burial chambers, containing ceremonial ceramics like the one pictured above, and human skeletons bound up in the fetal position. The Gaudo Culture is an Eneolithic culture from Southern Italy, primarily in the region of Campania, active at the end of the 4th millennium BC, whose typesite necropolis is located near Paestum, not far from the mouth of the river Sele.Bailo ModestiI G., Salerno A. (Eds), 1998, Pontecagnano II, 5. La necropoli eneolitica, L'età del Rame in Campania nei villaggi dei morti, Annali dell'Istituto Orientale di Napoli, sezione di Archeologia e Storia Antica, quad. n.
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Residents of Coal River Valley and their allies delivered a letter to West Virginia Governor Joe Manchin, urging him to declare a state of emergency and rescind permits for the Bee Tree mountaintop removal mine on Coal River.Coal River Valley residents declare state of emergency, meet with Governor Joe Manchin, Mountain Justice website, accessed August 6, 2010. The letter was signed by thirteen residents and accompanied by nine personal statements, a cross- section image of the neighboring Brushy Fork sludge impoundment and underground mines below, and an aerial image of the impoundment. Seven people sat in Manchin's antechamber and refused to leave at the office's closing time; the seven were arrested with misdemeanors for trespassing and obstruction.
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The current tower's name in Khmer means "The towers of the tightrope dancers," a romantic idea derived from the local belief that they were used to support a high wire stretched between them for acrobatics during royal festivals. This belief, however, is irrelevant. Zhou Daguan describes in his records that the towers are used to settle disputes among Angkorian people. The temple was possibly built during the reign of Indravarman II.Higham, C., 2001, The Civilization of Angkor, London: Weidenfeld & Nicolson, Among the twelve towers, the structures identified as N1 tower and N2 antechamber were in danger of collapse and were reconstructed in 2001-2005 by JSA (Japanese Government Team for Safeguarding of Angkor) and APSARA.
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The Vishnu and Lakshmi images were reinstalled and the site became an Hindu temple again in 1371 CE under Kumara Kampana, a Vijayanagara commander and the son of Bukka I. In the last decade of the 14th century, a pillared antechamber was gifted by the Vijayanagara rulers. In the 15th century, they coated the apsidal roofs with solid gold sheets, followed by financing the addition of a series of new shrines, mandapas and gopuras to the temple, according to George Michell. After the destruction of the Vijayanagara in late 16th century, geo-political instability returned. The site became the focus of bitter wars between the Hindu Nayakas and the Muslim Mughals in the 17th century.
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Sarcophagus of Lech and Maria in the Wawel Cathedral, Kraków On 11 April 2010, President Kaczyński's body was returned to Poland, where he and his wife lay in state at the Presidential Palace in Warsaw. The state funeral was held in Kraków on 18 April 2010. After a Roman Catholic mass at St. Mary's Basilica, the presidential couple were laid to rest in a coffin, which was placed in the antechamber of the Crypt Under the Tower of Silver Bells beneath the Wawel Cathedral. A significant number of foreign dignitaries were unable to attend the funeral as a result of air travel disruption in Europe following the eruption of the volcano Eyjafjallajökull in Iceland.
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Her name and title are inscribed on the doorjambs: "the wife of the king, his beloved, Nebuunet" (French: l'épouse du roi, son aimée, Noubounet). On the upper part of the jamb, beneath the hieroglyph for sky, a royal falcon with spread wings clutches an ankh pointed at a cartouche bearing Pepi I's name, itself part of a unit of three columns of text. The limestone door of the complex leads into an antechamber from which the courtyard surrounding the pyramid, and a small mortuary temple of the east face of the pyramid, could be accessed. The temple is in complete ruins, except for the offering hall and a section of wall about thick, which have been better preserved.
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It was commissioned to be inserted into the room's wooden paneling, alongside works by other artists, in the manner of the slightly earlier Marriage Chamber in Florence's Palazzo Borgherini, to which Pontormo also contributed. The other works in the antechamber were Franciabigio's Bathsheba Bathing (Gemäldegalerie, Dresden) and Bacchiacca's Legend of the Dead King's Son (Gemäldegalerie, Dresden) and Baptism of Christ (Gemäldegalerie, Berlin), all surmounted by a larger work, Andrea del Sarto's Saint John the Baptist as a Boy (Galleria Palatina, Florence). Elisabetta Marchetti Letta, Pontormo, Rosso Fiorentino, Scala, Firenze 1994. The work's landscape, crowds and grotesques evoke contemporary North European prints by artists such as Lucas van Leyden and Dürer, then circulating as far as Florence and beyond.
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Over the 160 years of its construction, the architects of La Compañía incorporated elements of four architectural styles, although the Baroque is the most prominent. Mudejar (Moorish) influence is seen in the geometrical figures on the pillars; the Churrigueresque characterizes much of the ornate decoration, especially in the interior walls; finally the Neoclassical style adorns the Chapel of Saint Mariana de Jesús (in early years a winery). The floorplan of La Compañía makes a Latin Cross, with central, northern and southern arms; it has the conventional nave, transept, crossing, presbytery, antechamber to the sacristy, sacristy, and chapel. The central nave is topped by a 26-meter high barrel vault constructed of pumice and brick.
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After World War I more of the large department stores began to operate workshops to make furniture and decorative art objects for the middle classes. In 1923 Follot took charge of the Pomone decorative art workshop of Le Bon Marché department store, which made affordable, good quality furniture and decorations. He designed the symbol of the workshop, a tree laden with fruit. The Pomone pavilion at the 1925 International Exposition of Modern Industrial and Decorative Arts in Paris was a great success. Follot had designed every room in the pavilion, and also contributed an antechamber to the exposition's model “Modern French Embassy.” From 1928 Follot was a director of the Paris branch of Waring & Gillow, an English furniture company.
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Conference hall of the chamber of deputies at the Meanwhile, the government expelled from the administration all Legitimist supporters who refused to pledge allegiance to the new regime, leading to the return to political affairs of most of the personnel of the First Empire, who had themselves been expelled during the Second Restoration. This renewal of political and administrative staff was humorously illustrated by a of ., in one act of Jean-François Bayard, played at the théâtre du Vaudeville on 25 September 1830, showed the solicitors, gathered in the antechamber of a minister: (quoted by , 2002, p. 625) (ibid.) The Minister of the Interior, , re-appointed the entire prefectoral administration and the mayors of large cities.
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The bridge from Bebenhausen Palace (right) to the monks' dormitory (left), pictured from the south Bebenhausen Palace's two halls, the Blue and Green Halls, were created for receptions and banquets out of the monastery's guesthouse and the abbot's kitchen respectively. The guesthouse was transformed into the Blue Hall in 1870 and was furnished by King Charles I with hunting trophies, a replica chandelier and dining set copied from a manor in Ulm. Additional inventory includes pieces of Charles Eugene's majolica collection and the sword of the first Duke of Württemberg. Queen Charlotte's apartment was previously that of Charles I. The suite was renovated for her in 1915–16 into the present arrangement of antechamber, bedroom, dressing room, bathroom, drawing room, and music room.
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Myrtle wreath at Vergina (, Latin: corona Verginae) made of gold myrtle (Myrtus communis) leaves and flowers is one of the most valuable finds from the antechamber of the royal Macedonian tombs at Vergina, Greece., Vergina the royal tombs and the ancient city, Ekotike Athenon S.A. Athens, 1989 From the Hellenistic period (300-30 BC), the gold wreath is thought to belong to Meda, the Thracian princess and fifth wife of Philip II of Macedon. , Heracles to Alexander the Great, Treasures from the Royal Capital of Macedon, 2011 Which was theorized by Greek archaeologist Manolis Andronikos, whom excavated the tomb of Philip II, father of Alexander the Great in 1977. This theory today is still in debate on whether this tomb actually belongs to these royals.
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It was originally two apartments, which were divided or joined over the years depending upon its occupants. The Grand Salon, the antechamber to the bedroom of the Queen-Mother (Mid-17th century) The Salon de Reception was the anteroom to the bedroom of Anne of Austria, wife of Louis XIII and mother of Louis XIV. It features a gilded and sculpted ceiling divided into seven compartments, representing the sun and the known planets, along with smaller compartments for military trophies; it was created in 1558 by Ambroise Perret for the bedroom of Henry II in the pavilion des Poeles, a section of the Château that was later destroyed. Anne had it moved to the room and decorated with her own emblems, including a pelican.
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The objects displayed in the antechamber include two royal palanquins given by the King of Siam, one designed for a King and the other (with curtains) for a Queen. Inside the two salons of the museum, some of the walls are covered with lacquered wood panels in black and gold, taken from 17th century Chinese screens, along with specially designed cases to display antique porcelain vases. Other objects on display include a Tibetan stupa containing a Buddha taken from the Summer Palace in China; and a royal Siamese crown given to Napoleon III. The salons are lavishly decorated with both Asian and European furnishings and art objects, including silk-covered furnishings and Second Empire sculptures by Charles Cordier and Pierre- Alexandre Schoenewerk.
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The outer walls of the shrine and hall (mantapa) have been provided with projections and recesses giving rise to niches, in which, in relief, are pilasters (including a new Chalukyan variety), miniature decorative towers (turrets or aedicule), sculptures of Hindu gods, and women displaying stylized feminine features (salabanjika or madanika). According to Cousens, the presence of miniature decorative towers on the shrine walls is noteworthy because most other Western Chalukya constructions have these reliefs only on the superstructure over the shrine. Cousens feels the specimens of makara (mythical beasts) on the shrine walls are exceptionally delicate with "tails of flowing arabesque" standing out free from the background material. Inside, the entrance to the antechamber has a highly decorated lintel with motifs of aquatic creatures (makara torana).
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Her jewelry was indicative of her > rank, and in the antechamber of her tomb lay her clothing neatly piled, and > ready for her use beyond the shadows. Here were garments of leather, painted > red and yellow, as well as clothing of cotton and other fabrics, in various > colours, ornamented by intricate fringes. No weapons were found, but food > for her journey was by her, dates dried to the thinnest film of skin on the > stone, and a store of what looked to have been grapes, together with jars of > grain. Despite protests from both Tuareg and "negro" tribes the expedition removed all the bones and treasures and took them back to the Ethnographical Museum in Algiers, where they remain on display.
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The inventory of 1775 adds that there is also a "green Campan marble chimney, the top of the mantelpiece decorated with marble of any height with gold- bronze ornamentation of ground gold, the mirror in two parts, the first 52 inches wide by 96 inches high, the second 52 inches idem 26 inches high Two tables above the doors of each 3 feet 6 inches wide by 2 feet 9 inches high, representing fruit and flowers, painted by Batiste Fontenay ". In this antechamber, the dauphin placed the collection of paintings offered to Louis XIV in 1693 by André Le Nôtre and which the king put at the disposal of his son. These works are now preserved in the Louvre Museum.
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Each tomb is roughly hewn out of rock in an "oven-shaped" design, with either one or two burial chambers of a somewhat oval shape, with a low, curved ceiling, each containing multiple human skeletons in the fetal position, either on their sides or on their backs. The tombs were accessed by a more or less circular shaft from above, at the bottom of which was a kind of vestibule or antechamber. There is evidence that the Gaudo funeral rites would have been carried out by a team of people, and after the conclusion of the rites, the tomb would have to be sealed off by a large stone. The Gaudo people would apparently use tombs repeatedly, perhaps for different generations of people.
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Plan of the Great Gatehouse Immediately to the west of the Great Gatehouse is John of Gaunt's Gatehouse, originally either two or three storeys tall, but now only surviving at the foundation level. This gatehouse replaced the Great Gatehouse as the main entrance, and would have contained a porter's lodge, defended by a combination of a portcullis and an 82-foot (25 m) long barbican.; ; A inner bailey was approximately 50-foot by 75-foot (23 m by 15 m), defended by a 20-foot (6 m) high mantlet wall, was constructed in the 1380s behind John of Gaunt's Gatehouse and the Great Gatehouse.; This complex comprised a vaulted inner gatehouse, square, and six buildings, including an antechamber, kitchen and bakehouse.
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Porter, Bertha and Moss, Rosalind, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Statues, Reliefs and Paintings Volume I: The Theban Necropolis, Part 2. Royal Tombs and Smaller Cemeteries, Griffith Institute. 1964, pg 756-8 The corridor has a doorway which opens up to a further stretch of corridor which has been described as an antechamber. The walls are decorated with deities that form pairs with one on the north wall and the other on the south wall. After a seated winged goddess Ma’at, we find the gods Ptah (South) and Thoth (North) who represent the underworld, then Ra-Harakhti and Atum who are solar deities, followed by Imset and Hapy and by Duamutef and Qebehsenuef, the Four Sons of Horus.
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This two-terraced stupa is cruciform on plan and about 15 metres high from the ground level accessible through a flight of steps on the north side. On each of the four cardinal directions there is a protruding chamber with a pillared antechamber and a separate pillared mandapa in front. In the four chambers of the stupa were placed colossal stucco images of seated Buddha of which three were found in situ but the remaining one on north side was possibly replaced by a stone image after the clay image was somehow damaged. About 32 metres south of the monastery on its south west corner and attached with the main monastery through a narrow corridor is a rectangular structure identified as a library building.
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Moving further northwards one has to cross the small Antechamber hall in order to get into the most famous hall of the Shulgantash- the Hall of the Drawings. The cave itinerary in the northern direction can be tracted yet father from here. There are 14 more large and small halls to be visited: the Second gallery, the Acoustice hall, the Oval hall, the hall Temple, the Upper and Diamond halls, the hall of Upper Lake (with a large lake in it), the Rainbow and the Cristal halls, the Hall of the Mountain King, the gallery Hell, the Hall of the Abyss, the Transsyphon hall and the Far hall. The way to the remote halls is rather complicated with many dangerous sections and pools blocking the trail.
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Musketeer of the Guard c. 1660. Dumas presents his novel as one of a series of recovered manuscripts, turning the origins of his romance into a little drama of its own. In the Preface, he tells of being inspired by a scene in Mémoires de Monsieur d'Artagnan (1700), a historical novel by Gatien de Courtilz de Sandras, printed by Pierre Rouge in Amsterdam, which Dumas discovered during his research for his history of Louis XIV. According to Dumas, the incident where d'Artagnan tells of his first visit to M. de Tréville, captain of the Musketeers, and how, in the antechamber, he encountered three young Béarnese with the names Athos, Porthos, and Aramis, made such an impression on him that he continued to investigate.
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Church of San Pedro The entrance to the site is by the Church or North Group. In the 16th century, the Spanish built the Church of San Pablo here,. It was constructed on top of a large pre-Hispanic platform, which now serves as the church atrium. The Zapotec believed that the lord and lady of the underworld lived in this group of structures. The Spaniards built their church here in turn to emphasize their power and to keep the “devil” from escaping. The group also contains the main Zapotec temple, called the yohopàe, which translates to “house of the vital force.” This temple faces a large courtyard. The portal to the temple is flanked by two large columns, which lead into an antechamber.
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8, accessible online at Google Books). The review published by the "Mercure de France" reports that Lays did in fact appear at the premiere and the audience did not appreciate the long arietta he sung: his performance, however, was much praised by the reviewer ("Mercure de France", 30 December 1780, pp. 222–223, accessible online at Google Books). Between 1780 and 1791, he was a member of two of the main musical institutions at court, the Concerts de la reine (the Queen's concerts) and the King's Grand Couvert,Literally meaning 'a gala dinner', the term refers to the Versailles custom of performing music on the occasions when the royal couple had dinner in public in the antechamber of the Grand Couvert.
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Architectural description by W. Scott Smith, Principal, HistoryTech, LLC While uncommon for three-bay houses of the period in Lynchburg, the interior floor plan is remarkably similar to plans of houses found in the Quaker communities surrounding Guilford County, North Carolina (William Dicks' home). Visitors entering through the front door immediately enter the primary chamber of the first floor, rather than a hallway or antechamber. A smaller room is accessed via a small hallway in the northeastern corner of the house. This hallway also contains a switchback winding staircase that serves all three floor levels. Combined with the wing that was demolished in the early 20th century, the house exhibited a modified three-cell plan that was typical for Quaker-built dwellings of the period.
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At some point, a group of necromancers settle the area outside the tomb, creating a community of sorts known as Skull City. Acererak's tomb is revealed to be a mere antechamber to the demilich's true dwelling, the lost city of Moil on the border of the Negative Energy Plane, where he had spent thousands of years working on a process to fuse his essence with the plane and gain control over all undead throughout the multiverse. According to the 3rd edition Tome of Magic, Acererak, following his destruction by adventurers completing the Tomb of Horrors, passes on to become a vestige - an ineffable, amoral entity which can be summoned and bound by characters known as Binders. Acererak grants his summoner lich-like powers, including immunity to cold and the ability to speak with the dead.
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When in 1996 he finally made the leap to the F3000 International, the F1’s antechamber, he got a fifth place in his debut race, becoming part of the narrow batch of drivers who managed to score in their inaugural race. As expected, 1996 turned out to be a year of learning, with some good results, but also with many difficulties. In 1997 he remained in the championship with the intention of making the final assault on Formula 1. The season started with an excellent second place at the Silverstone / England circuit, but when it looked for a great season, not everything ended up running in the greatest way. Mechanical problems and some accidents take away the Portuguese driver’s protagonism and complicated his life with a view to a good result in the championship.
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Carter's house in the Theban Necropolis, in 2009 Realising the size and scope of the task ahead, Carter sought help from the Metropolitan Museum's excavation team, working nearby, who readily agreed to loan a number of their staff, including archaeological photographer Harry Burton. The next several months were spent cataloguing the contents of the antechamber under the "often stressful" supervision of Pierre Lacau, director general of the Department of Antiquities of Egypt. On 16 February 1923, Carter opened the sealed doorway and found that it did indeed lead to a burial chamber, and he got his first glimpse of the sarcophagus of Tutankhamun. The tomb was considered the best preserved and most intact pharaonic tomb ever found in the Valley of the Kings, and the discovery was eagerly covered by the world's press.
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The most valuable parts of this building in historical and artistic terms are the Main Hall, the Knights' Hall, the Antechamber, the Audience Hall and the Mythological and Astronomical Corridors. Albrecht of Wallenstein had traveled in Italy, and when the palace was built between 1623 and 1630, Italian architects and artisans were used including Andrea Spezza (likely the main architect), succeeded in 1628 by Niccolo Sebregondi. The interiors were decorated by the Florentine Baccio del Bianco (1604-1656), who completed the ceiling fresco in the Main Hall, figure paintings in St Wenceslas Chapel, and most important parts of the decoration of the Mythological Corridor during the first year of construction. The Florentine Giovanni de Galliano Pieroni (1586-1654), engineer and army colonel, played an important role in the construction.
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The Dudley Peninsula came into existence about 9,500 years BP when Kangaroo Island became separate from what is now Fleurieu Peninsula due to the rise in sea level following the end of the last ice age.DEP, 1987, page 7 The peninsula has a plateau covering its northern half with a maximum height of about while the southern half has a maximum height in the order of . Its coastline consists of a cliff-line in the order of to in height with the exception of sandy bays such as Nepean Bay in the north-west coast, Antechamber Bay in the north east coast and Pennington Bay on the south-west coast. The peninsula has a geological basement of Tapanappa Formation sandstones (from the Kanmantoo Group) which were laid during the early Cambrian period.
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In this transcript, he piognantly describes the house and the happy incidents that occurred there. It is better quoted in his own words than paraphrased (the photos also show the manuscript). > In this once happy home you all passed your earliest infancy. With exception > to Emy and Charley all were born here- and all but Charley have received the > initiatory right [sic] of baptism by which Ye were made member of Christ > Children of God and inheritors by promise of the Kingdom of Heaven. To your > father it has been endeared by many years of more… An unusual tale recounted is of a lavish Christmas Eve party in 1895 held at this house in which a mysterious Englishman was murdered in the antechamber and simultaneously a fire also broke out that destroyed Metcalfe’s Testimonials.
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During the second half of the 19th century, new works in the Palace were specifically done to adapt the existing space to a permanent Royal Family residence: the windows in the antechamber of the Sala do Despacho were completed by Paul Sormani; new lace draperies from Switzerland were hung in the windows; the Quarto de D. Luís (D. Luís Room) was partitioned, with a lowered ceiling, and used as an office space with washroom; the Sala de Trabalho do Rei (King's Study) was decorated with a new rug, produced by the English firm Thomas Bontor & Company, which also produced new rugs for the Sala Chinesa (Chinese Hall); also, the older Sala de Bilhar (Billiard Room) was divided into two rooms: the Sala Chinesa (Chinese Room) and the Sala Império (Imperial Hall).
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This was an amateur performance consisting of members of the royal court which was staged by the king in honor of his mother. Because of a confusion of the time, Sophie von Fersen would have been forced to wait dressed in her evening gown in the royal antechamber in the company of professional ballet dancers, which her mother considered to be shameful of her noble status. This refusal created a scandal at court, and a formal reconciliation was not made until princess Charlotte managed to mediate in the affair. The relationship of the von Fersen family and the royal house was to become strained with time, especially during the crisis of 1789, when her spouse became arrested as one of the leaders of the nobility in opposition to the king's Union and Security Act.
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The apartments of the King were the heart of the chateau; they were in the same location as the rooms of Louis XIII, the creator of the chateau, on the first floor (second floor US style). They were set aside for the personal use of Louis XIV in 1683. He and his successors Louis XV and Louis XVI used these rooms for official functions, such as the ceremonial lever ("waking up") and the coucher ("going to bed") of the monarch, which were attended by a crowd of courtiers. The King's apartment was accessed from the Hall of Mirrors from the Oeil de Boeuf antechamber past the Guardroom and the Grand Couvert, the ceremonial room where Louis XIV often took his evening meals, seated alone at a table in front of the fireplace.
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Another packet arriv'd; she too was detain'd; and, before we sail'd, a fourth was expected. Ours was the first to be dispatch'd, as having been there longest. Passengers were engaged in all, and some extremely impatient to be gone, and the merchants uneasy about their letters, and the orders they had given for insurance (it being war time) for fall goods; but their anxiety avail'd nothing; his lordship's letters were not ready; and yet whoever waited on him found him always at his desk, pen in hand, and concluded he must needs write abundantly. :Going myself one morning to pay my respects, I found in his antechamber one Innis, a messenger of Philadelphia, who had come from thence express with a packet from Governor Denny for the general.
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Nandi (bull) in the east in Kalleshvara temple at Bagali View of mantapa facing a minor shrine in the Kalleshvara Temple at Bagali The temple plan comprises a main shrine for the Hindu god Shiva with a sanctum (cella or garbhagriha) facing east, a vestibule (antechamber or antarala), a main closed hall (mahamantapa) with an entrance in the south and east. These structures are attributed to the 10th century Rashtrakuta rule. The closed hall is preceded by a large, open gathering hall (sabhamandapa) with fifty highly ornate lathe turned pillars that support a decorative ceiling. Also provided are a shrine for the Sun god Surya with a hall (mukhamandapa) facing the east-west orientation, and a small shrine for the deity Narasimha (a form of the Hindu god Vishnu) in the north of the gathering hall.
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He is also founding director of Bleeding Napoleon Pty Ltd, a not-for-profit arts charity funding performance and installation works. In this role, he has co-produced two works by the playwright Brian Lipson: Bergasse 19, for the Melbourne International Arts Festival 2005 and A Large Attendance In The Antechamber, which saw a three-week run at the Sydney Opera House in July 2006. In recent years he has collaborated with jazz pianist and Adelaide Festival director Paul Grabowsky in the making of several albums, including Tales of Time and Space (Warner/Chappell), recorded in New York with Branford Marsalis and Joe Lovano; the ARIA Music Awards-winning Before Time Could Change Us (Warner/Chappell) with Katie Noonan, libretto by Dorothy Porter and Ruby (AAO), with Ruby Hunter and Archie Roach. In April 2008 Wassmann was diagnosed with chronic heart failure.
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The provenance of a mummy fragment and fine linen wrappings found in the burial chamber are unknown, but are hypothesized to belong to Pepi I. Other components of burial equipment found in the chamber are: fragments of canopic vessels made from yellowish alabaster; a sandal made from reddish, possibly sycamore, wood; a small flint knife; some pleated linen; and a fragment of linen bearing the inscription "Linen for the king of Upper and Lower Egypt, may he live forever". The walls of Pepi I's antechamber, burial chamber, and corridor were inscribed with vertical columns of green painted hieroglyphic text. The corridor texts in Pepi I's pyramid are the most extensive, covering the whole horizontal passage, the vestibule, and even a section of the descending corridor. The serdab was left uninscribed, as it had been in Unas' and Teti's pyramid.
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The music video begins by showing quiet and almost deserted streets of the city, with no sign of cars, nor people moving around. The empty streets signify the quietness of the cities in the light of the lockdowns that have been enforced by governments globally to curb the spread of the COVID-19 virus among citizens. The video then shows Drake in an antechamber, showcasing his many awards sitting in trophy cases; through the door, a painting of China's Chairman Mao by Andy Warhol is seen hanging on the wall. Drake then passes by a table covered with the basketball jerseys he is usually seen wearing courtside, including one emblazoned with the name "Bryant", honoring the late American basketball star, Kobe Bryant, who had died earlier in the year from a helicopter crash, on January 26, 2020.
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It is orientated SWS/ENE, the entrance being at the SWS, in the centre of the slightly slanted (or battered) façade. The front, side walls and apse of the edifice consist of successive horizontal corbelled courses of huge rectangular or square limestone blocks dressed with a hammer and fitted together without mortar, with an all-round foundation course of blocks of even greater size laid on edge. The narrow, low entrance doorway (0.57 m x 0.75 m) is rebated to receive a closing slab. The once sealed-off entrance leads by a short, flag-roofed passage to an antechamber 1.3 m long and then another short passage to the main or lower chamber (7.45 m x 2.45 m), the ceiling of which is made of giant horizontal slabs inserted into the side walls, with an average span of 1.5 m c.
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It was in 1933 that the temple acquired the present form and structure. In that year the temple was extensively renovated. According to the notice of the consecration ceremony, the foundation stone for the new structure was laid by Mr. V. Natesam Pillay, JP. The Sri Muthu Mariamman temple having become too small and too decayed, the Hindu gentlemen of Penang, with their initiative and perseverance, have bought up two buildings to the north of the temple, expanded the presence space and formed a temple in accordance with the Siva agamas a sanctum, Arthamandapam (antechamber), Mahamandapam (hall), prakaram (circumambient), vimanam (dome), surrounding walls and Rajagopuram (entrance tower). These renovations were carried out by a management committee consisting of S. Ekamparam Pillai, C. Subbaraya Pillay, S. P. Natesam Pillay, P. Kalimuthu Vandayar, K. V. Karuppiah Thandal and M. R. Raju.
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The external graces, the frivolous accomplishments of that impertinent and foolish thing called a man of fashion, are commonly more admired than the solid and masculine virtues of a warrior, a statesman, a philosopher, or a legislator. All the great and awful virtues, all the virtues which can fit, either for the council, the senate, or the field, are, by the insolent and insignificant flatterers, who commonly figure the most in such corrupted societies, held in the utmost contempt and derision. When the duke of Sully was called upon by Lewis the Thirteenth, to give his advice in some great emergency, he observed the favourites and courtiers whispering to one another, and smiling at his unfashionable appearance. 'Whenever your majesty's father,' said the old warrior and statesman, 'did me the honour to consult me, he ordered the buffoons of the court to retire into the antechamber.
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The very high status of this queen is suggested by some features of her funerary complex that are otherwise reserved to kings: her pyramid has its own satellite pyramid, has a causeway leading from a valley temple up to a mortuary temple devoted to the cult of the queen and had an entrance hall pr- wrw, an open courtyard and a square antechamber. Furthermore, some reliefs showing the queen had been reworked with royal insignia and vultures added above her head. Since the construction of the queen's pyramid was apparently undertaken after the planning of Djedkare's pyramid and her relief had been reworked, the Egyptologist Klaus Baer suggests that this queen may have ruled after the death of Djedkare, playing an important role in his succession. This is rejected by other Egyptologists, such as Michel Baud, owing to the lack of evidence for a regency or interregnum between Djedkare and Unas.
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With the start of Liberal and Absolutist factionalism, the country entered into a period of fragile stability, and the project, already moving slowly, stopped in 1833 with the entry of liberal forces in Lisbon. With the restored Liberal regime, Peter IV took over as Regent until his daughter's age of majority, swearing allegiance to the Constitutional Charter in the throne room on 30 August 1834. Peter attempted to complete the palace, under the revised plan of Joaquim Possidónio Narciso da Silva, but was unsuccessful. Yet, some projects continued inside the building: in 1836, the antechamber of the Sala do Despacho with scenes of Diana by André Monteiro da Cruz was completed; in 1837, several paintings were repaired by Joaquim Rafael; in 1844, busts of the monarchs in wax were ordered, by Joaquim Rafael; and the sculpture of Inocência by Benedetto Delisi was executed in 1860.
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In the antechamber was another chest with another golden larnax containing the bones of a woman wrapped in a golden-purple cloth with a golden diadem decorated with flowers and enamel, indicating a queen (probably Philip's Thracian wife, Meda) who by tradition sacrificed herself at the funeral. Also included was another burial bed partially destroyed by the fire and on it a golden wreath representing leaves and flowers of myrtle. Above the Doric order entrance of the tomb is a magnificent wall painting measuring representing a hunting scene, believed to be the work of the celebrated Philoxenos of Eretria, and thought to show Philip and Alexander. Remains from the funerary pyre of Philip II Next to him in Tomb I a distinctive member of his family (probably Nikissipoli, another of his queens), was buried just a few years before in a cist grave, found unfortunately plundered.
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That final sequence is truly squirm-inducing, not least because he changes tone so completely from the opening and middle sequences, from verite, to fast-cut scares, to long, languorous, brooding shots of this incredible antechamber to hell that he has created." Ben Kenigsberg from The New York Times gave the film a positive review, comparing it to A Nightmare on Elm Street for its themes of childhood and dreams, and its lavish use of violence and gore. The film was not without its detractors, with some critic complaining about the plot lacking any narrative sense. Dennis Harvey from Variety wrote a mixed review, stating "Of interest as a rare modern Turkish horror film, Can Evrenol’s debut feature will be a must-see for fans at fantasy fests, but its initial promise dissipates in a muddle of repetitious phantasmagoria and too little narrative or character development.
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Old Kannada inscription dated 1197 A.D., from the rule of Hoysala King Veera Ballala II, on the porch wall in Mallikarjuna temple at Kuruvatti The Mallikarjuna temple has a single shrine with a superstructure or tower (ekakuta vimanaFoekema (1996), p25) with porched entrances from three sides. According to the art historian Adam Hardy, the existing tower (shikhara) is a later day re-construction. But the art historian Henry Cousens feels the superstructure and its Kalasha (decorative structure at the peak of tower) are original, though the tower has been whitewashed in more recent times.Cousens (1926), p103 The temple consists of a sanctum (garbhagriha), an antechamber (also called vestibule or antarala) which connects the sanctum to a gathering hall (sabhamantapa), two halls (mukhamantapa) on either side, and indedpendent of the main temple complex and to the east, a hall (nandimantapa) containing a sculpture of Nandi (the bull, a companion of the Hindu god Shiva).
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The Royal Palace of Évora has its origins in the Convent and College of São Francisco, built before the reign of King Afonso IV. The convent's first royal function was in 1336, when Prince Pedro of Portugal celebrated his divorce of Constanza Manuel, which put the convent on royal notice. In 1387, King John I took the first step in transforming the convent to a palace, when he ordered that two chambers, and antechamber, an inn, servants houses, a well, and an orange grove all be built at the convent, and evicted resident Franciscans from certain wings of the convent turned palace. While he turned the convent into a good sized palace, it was a personal palace, not a royal one, only for the use of the King, his Queen, and their children. In 1470, King Afonso V raised the Palace of São Francisco, as it was known at the time, to the level of a royal palace.
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Galuppi's skill as keyboard player is well documented. Hillers Wöchentliche Nachrichten in 1772 made this mention of Galuppi's reputation in Saint Petersburg: "Chamber concerts were held every Wednesday in the antechamber of the imperial apartments, in order to enjoy the special style and fiery accuracy of the clavier playing of this great artist; thus did the virtuoso earn the overall approval of the court."Hiller, Johann Adam, Wöchentliche Nachrichten und Anmerkungen, die Musik betreffend (Leipzig, 1772) It is no surprise that a number of Galuppi's keyboard works should make it into print during his lifetime, including two sets of 6 sonatas, published in London as opus 1 (1756) and opus 2 (1759) respectively.Franco Rossi, Catalogo tematico delle composizioni di Baldassare Galuppi (1706–1785) – Parte I: Le opere strumentali, Edizioni de I Solisti Veneti, Padova, 2006 Felix Raabe mentions the round number of 125 "sonatas, toccatas, divertimenti and etudes" for keyboard, based on Fausto Torrefranca's 1909 thematic catalogue of Galuppi's cembalo works.
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Due to its location in the middle of the trade network of the ancient world, the cultural and social landscape of the city was complex, as the inhabitants had to deal with traders and envoys who brought with them different customs from distant regions. The inventories of gifts presented to deities from the royal palace indicate that Qatna used the sexagesimal numeral system. The head of Yarim-Lim of Alalakh closely resembles the royal statues found in the royal hypogeum Textiles dyed with royal purple, a symbol of social status, were found in the royal hypogeum. Judging by the royal statues found in the royal hypogeum antechamber, a king of Qatna wore clothes different from those worn in Mesopotamia; his robes would have reached his ankles and the hem on his shawl would have been in the shape of a thick rope, while his beard was short and his headdress consisted of a broad band.
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This module expanded significantly upon the plot of the original Tomb of Horrors, revealing that the tomb of the first adventure was merely an antechamber to the lich Acererak's true resting place, and the demilich "slain" in the first adventure was both decoy and key to proceeding further. The dust from the destroyed skull opened a way to the cursed city of Moil in a pocket universe of eternal darkness and ice, and beyond that to Acererak's fortress hovering at the edge of the Negative Energy Plane itself. Acererak is revealed in this publication to be near the completion of a multi-thousand- year project to achieve godhood, powered by souls consumed over the years. He now needs only three additional souls to complete the process, but they must be of exceptional purity and strength; to this end he constructed his tomb to serve as an ultimate challenge for heroes, hoping to winnow out all but the very best.
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The madanika figures (also called salabhanjika, refers to the sculpture of a woman, displaying stylized feminine features) carved on the capitals of the pillars of the hall are works of fine art. The vimana (shrine that contains the cella) has a well executed, highly decorative and intact tower (shikhara).Foekema (1996), p21, p27 The vestibule (called antechamber or antarala) which connects the cella to the hall has a sukhanasi (called "nose") which is actually a low protrusion of the tower over the shrine, built over the vestibule.Foekema (1996), p22 Other standard features in a Hoysala temple are the large domed roof over the tower, which is also the largest sculptural piece in a Hoysala temple (called the "helmet" or amalaka) and whose shape usually follows that of the shrine (square or star shape); the kalasa on top of it (the decorative water-pot at the apex of the dome); and the Hoysala crest (emblem of the Hoysala warrior stabbing a lion) over the sukhanasi.
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Prior to the changes that followed the Second Vatican Council there were two types of fascia: the tufted fascia, on which each end was finished in a single large tassel, and the fringed fascia, on which each end is straight and finished with fringe. The Instruction Ut sive sollicite of the Secretariat of State, dated 31 March 1969,Text of the Instruction in English, published by L'Osservatore Romano declared that "the sash with tassels is abolished" for cardinals,Instruction, 3 bishops,Instruction, 15 and "Prelate Superiors of the Dicasteries of the Roman Curia who do not have the episcopal dignity, the Auditors of the Sacred Roman Rota, the Promotor General of Justice and the Defender of the Bond in the Supreme Tribunal of the Apostolic Signatura, the Protonotaries Apostolic de numero, the Clerics of the Apostolic Camera and the Prelates of the Pontifical Antechamber".Instruction, 18 This Instruction did not deal with canons,Instruction, 35 some few of whom have retained the tufted sash to which membership of their particular chapter entitled them.
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Château du Grand Jardin The Château du Grand Jardin was a maison de plaisance attached to the seat at Joinville, Haute-Marne of Claude de Lorraine, duc de Guise, who built it between 1533 and 1546 as a grand pavilion designed for fêtes and entertainments.The official history is Hélène Billat, Joinville: le château du Grand Jardin: Haute-Marne (Service regional de l'inventaire générale des monuments et des richesses artistiques de la France) 2005. The Château d'en-bas (the "Lower Château") as it was called at first, formed an annex to the medieval château fort overlooking Joinville, a stronghold of the House of Guise that was demolished at the French Revolution. In addition to its grand festive hall, which dominated the interior, were a suite of semi- private rooms to which the duke and duchess could withdraw with their most honored guests; they included a chamber preceded by its antechamber and a more private garde-robe within, but no bedrooms, as the seat of the Duke, the château de Joinville itself, was so near at hand.
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By May, Cyrillo proposed a new eastern façade, with a triangular apex and allegorical sculptures, alluding to the expulsion of the French during the Peninsular Wars, but the project was dropped. Between 1819 and 1920, sculptures of Justice and Prudence were completed by João José de Aguiar; the ceilings of the Archer's Hall and Cane Concierge's Hall by José da Cunha Taborda (1766–1836) were completed, its doors first started by Manuel Piolti (1770–1823); the metal shields on the doors were provided by the Army arsenal; the ceiling of the Hall of Spanish Tapestries by Cyrillo Volkmar Machado, with perspectives by Manuel Piolti, figures by Joaquim Gregório da Silva Rato and ornamentation by André Monteiro da Cruz; skirting by bronzer and gilder Pierre Philippe Thomire (1751–1843); the ceiling of the antechamber of the Sala do Despacho (Order Room) was completed by André Monteiro da Cruz and José da Cunha Taborda. In 1820, a new project for the south and eastern façades was authorized, which included a system of ramps and staircases created by António Francisco Rosa.
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These were excavated by Mr. E. W. West, and led to the discovery of a very large number of seal impressions in dried clay, many of them enclosed in clay receptacles, the upper halves of which were neatly moulded somewhat in the form of dagobas, and with them were found other pieces of moulded clay which probably formed chhatris for the tops of them, making the resemblance complete. Close to the dagobas two small stone pots were also found containing ashes and five copper coins apparently of the Bahmani dynasty, and if so, of the 14th or 15th century. The characters on the seal impressions are of a much earlier age, but probably not before the 10th century, and most of them contain merely the Buddha creed. Entrance to cave 75 The next cave on the same side has a pretty large hall with a bench at each side, two slender square columns and pilasters in front of the antechamber, the inner walls of which are sculptured with four tall standing images of Buddha.
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Ref: Free Canadian Press Retrieved 29 April 2013 and in 1993 the remains of the World War II military leader Władysław Sikorski were finally returned to Poland for burial in the crypt. More recently, the bodies of President Lech Kaczyński and his wife were entombed in a sarcophagus, in the antechamber of the vault beneath the Silver Bell Tower. During World War II, when Poland was occupied by Nazi Germany, the Wawel Castle was the residence of governor general Hans Frank, later to be executed as a German Nazi war criminal; during his despotic regime Raphael's Portrait of a Young Man (1513–14), part of the Czartoryski collection, was removed from Wawel and to this day has yet to be returned to Poland. Many of the tapestries have disappeared too, their whereabouts unknown; however, 150 of the tapestries which along with many of the Wawel's other treasures had spent the war years, for safety, in Canada have been returned to the castle and are, today, part of the Wawel Royal Castle National Art Collection on public display along with countless art treasures and items of historical Polish significance.
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The temple is hollowed out of a large rock outcrop and consists of an elegant rock shelter with two roofed ante chambers in front, the first one a drumming hall and the second an image house, both of which are constructed outside the rock outcrop and topped by wooden roofs, whilst the third chamber, the main shrine room, is cut into the rock itself. ;Drumming hall The drumming hall (or digge) is unusual in that it is directly attached to the rest of the temple, rather than occupying a separate pavilion as is typically found in most similar temples. ;Image house The image house (or Budu-ge) is located through a set of old wooden doors, situated under a carved wooden Makara Torana (or Dragon Arch) lead into the antechamber, which preserves a moonstone and a sequence of paintings showing scenes from four Jātaka tales (stories that tell about the previous 550 lives of the Buddha, in both human and animal form), Vessantara Jātaka, Sattubhatta Jātaka, Sutasoma Jātaka and Mahaseelava Jātaka painted in five vivid panels. ;Shrine room The doors leading from here into the main shrine have metal fittings which were formerly studded with jewels.
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Commons chamber Main door to the House of Commons, as seen from the commons foyer The building's western wing contains the House of Commons chamber, along with its antechamber and lobbies for the government and opposition, on the east and west sides of the main commons space. The doors to all are of white oak trimmed with hand-wrought iron. The chamber is 21 metres long, 16 metres wide, and has seats for 320 members of parliament and 580 persons in the upper gallery that runs around the room's second level. The overall colour scheme is in green—visible in the carpeting, bench upholstery, draperies, paint within the gilded honeycomb cork plaster work of the cove, and the stretched linen canvas over the ceiling—and is reflective of the colour used in the House of Commons of the United Kingdom since at least 1663. That canvas, sitting 14.7 m above the commons floor and designed in 1920 by the New York decorating firm Mack, Jenney and Tyler, is painted with the heraldic symbols of the Canadian, provincial, and territorial coats of arms, with medallions at the intersections of diagonal stencilled bands in an argyle pattern.
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King Frederick I's throne in the Ordenskapelle The first building of the west wing is the Ordensbau (Order building, in reference to the ducal Order of the Golden Eagle), containing three apartments on the ground floor and the banquet hall. The vestibule features a ceiling fresco of Pheme with a genius. Pictures of Hercules adorn its walls and continue into the stairwell. The antechamber of the Order Hall is decorated with stucco reliefs of cherubs, masks, birds, and weapons by Tomasso Soldati and Frisoni. The Order Hall's stucco was also by Soldati and Frisoni, but the ceiling fresco is a later repainting by Scotti and Baroffio in 1731, as the original by Colomba was damaged by water and removed. King Frederick I had the Hall renovated into a throne room in 1805–06 and moved the ceremonies of the Order to the Ordenskapelle. Thouret designed the king's throne and baldachin, opposite 's 1808 portrait of the king. It was in the Order Hall that the constitutions of the Kingdom and the Free People's State of Württemberg were ratified in 1819 and 1919, respectively. Immediately southwest of the Ordensbau is the oval Ordenskapelle (Order chapel), built from 1715 to 1723.
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