748 Sentences With "cartouche" | Random Sentence Generator

When the onions are soft, remove the cartouche to evaporate the excess liquid.

Here, again, he appears in a stone cartouche, but this one, rather than pretending to come from antiquity, is smooth and round.

Other highlights include an oil on canvas painting of the actor's favorite horse titled "Cartouche," which carries an estimate of $20,000 - $30,000.

The artifact, part of a "cartouche," or ornamental tablet, belonged to Pharaoh Amenhotep I of the 17th dynasty in the 16th century BCE.

In 2014, German pseudoscientists and "hobbyists" defaced a cartouche of Khufu inside the Great Pyramid in their misguided search to prove their alien theories.

In a large, wide, heavy-bottomed saucepan, gently sweat the onions in a little olive oil, Maldon sea salt and cracked black pepper, covered with a cartouche.

The most significant objects to emerge are a reversible seal ring and a scarab-shaped amulet, both featuring a low-relief carving of the cartouche of Pharaoh Tuthmosis III.

No inscription or cartouche was found on the coffin, nor did it contain any silver or gold metallic masks, small statues, amulets, or other items typically associated with royal burials from this time period.

Most importantly, Murillo appears not in his studio or home, but within an oval cartouche cut out of a piece of chipped marble, of the sort you might find amid Seville's many Roman ruins.

Beneath the cartouche are a compass, a ruler, a palette, and paintbrushes, and his right hand sits on the bottom of the putative frame — a trompe-l'oeil show-off move of the first order.

A Louis XV frame, described by experts as having "pierced scrolling foliate & rocaille corners with diapered ground & floral rinceaux," had a daintier effect than a Louis XVI frame, made stately by the addition of a cartouche.

A cartouche over the Indian Ocean warned of "a sea monster that is like the sun when it shines, whose form can hardly be described, except that its skin is soft and its body huge," which experts think is a description of orca whales.

Her overall posture is recognizably true to life, but a single hooked line runs down through her cheek into a heavily stylized clavicle — and lest you forget for even an instant that you're looking at an artifice, Schiele puts his cartouche-like signature right in the middle.

The ancient Egyptian word for cartouche was shenu, and the cartouche was essentially an expanded shen ring. Demotic script reduced the cartouche to a pair of brackets and a vertical line. Of the five royal titularies it was the prenomen (the throne name), and the "Son of Ra" titularyAncient-egypt.org (the so-called nomen name given at birth), which were enclosed by a cartouche.

Hieroglyphics: The Writings of Ancient Egypt, "Cartouche", p. 195. The cartouche hieroglyph V10 is used as a determinative for Egyptian language šn-(sh)n, for "circuit", or "ring"-(like the shen ring or the cartouche). Later it came to be used for rn, the word "name".Betrò, 1995, p. 195.

Seal with the cartouche of Khamudi Petrie Museum Online Catalog.

Below the cartouche appears "VC," the initials of the engraver.

An example of a wall relief scene from Edfu at the Temple of Edfu shows a cartouche with the joint of meat hieroglyph. Another less common hieroglyph pictured within the cartouche is the vertical standing mummy hieroglyph.

He also noted a cartouche on the sixth cylinder of the column.

An ivory pen case was found inscribed with the cartouche of Ramses III.

Her name is written in a cartouche along with the title Divine Adoratrix.

The Saint Ignatius in a cartouche with flowers and cherubs (Royal Museum of Fine Arts Antwerp), which measures about 190 to 299 cm and includes not only a cartouche painted by Cornelis Schut but also angels attributed to Jan van Balen.

Jar bearing the cartouche of Hatshepsut. Filled in with cedar resin. Calcite, unfinished. Foundation deposit.

The cartouche has become a symbol representing good luck and protection from evil. The term cartouche was first applied by French soldiers who fancied that the symbol they saw so frequently repeated on the pharaonic ruins they encountered resembled a muzzle-loading firearm's paper powder cartridge ( in French).White, Jon Manchip, Everyday Life in Ancient Egypt, Courier Dover 2002, p.175 Compare: As a hieroglyph, a cartouche can represent the Egyptian-language word for "name".

They are composed of Aquia Creek sandstone and bear the Seal of Maryland on one side and the Cartouche of the District of Columbia on the opposite side. The cartouche depicts George Washington with Lady Justice, a laurel wreath, the rising sun, and the capitol dome.

Foundation tablet. It shows the cartouche of the birth name and epithet "Amenhotep, the god, the Ruler of Thebes". 18th Dynasty. From Kurna, Egypt. The Petrie Museum of Egyptian Archaeology, London Foundation tablet showing the prenomen cartouche of the throne-name of Amenhotep II. 18th Dynasty.

Malichot goes to the police to betray Cartouche but Cartouche can escape all the traps they set for him - except the entrapments of love. Eventually, the police use this against him and set a trap while he has a tryst with Venus in the countryside. He is captured but his men ambush the guards as they lead him away. In the scuffle that follows, Cartouche is saved by Venus who sacrifices her life to save him from harm.

Jar bearing the cartouche of Hatshepsut. Filled in with cedar resin. Calcite, unfinished. Foundation deposit. 18th Dynasty.

Teniers painted the monochrome bust portrait of each martyr in a cartouche while Gysaerts painted the cartouche and the flower garland surrounding it. Of these paintings, 8 are still known to exist, one of which is in the Rijksmuseum. Both Gysaerts and Teniers signed the painting in the Rijksmuseum.

It is Gardiner sign listed no. V10. Besides the cartouche hieroglyph use for the word 'name', the cartouche in half-section, Gardiner no. V11 V11 has a separate meaning in the Egyptian language as a determinative for actions and nouns dealing with items: "to divide", "to exclude".Betrò, 1995.

Jürgen von Beckerath: Chronologie des pharaonischen Ägypten. page 24 & 216. A rock inscription in the Wadi Hammamat made in the Middle Kingdom presents a list of the cartouche- names of Khufu, Djedefre, Baufra and prince Djedefhor (also recorded as Hordjedef). Curiously Djedefhor's name is written in a cartouche, too.

Van Kessel's collaborators on his garland paintings have not been identified. Van Kessel would have painted the fruit and flower garlands while his collaborators would then have painted the figure or figures inside the cartouche. The Garland of flowers surrounding a stone cartouche enclosing a bust of the Virgin is an example of a garland painting attributed to van Kessel. The flowers in the painting resemble those of the Garland surrounding a stone cartouche with a chalice in the Staatsgalerie Bamberg, dated 1658.

Relief fragments discovered depict scenes of processions and estates, along with an incomplete cartouche of Pepi I's name.

Huni's identity is difficult to establish, since his name is passed down mostly as cartouche name and in different variations. The earliest mention of his cartouche name may possibly appearing on the granite cone from Elephantine, which might be contemporary. Otherwise, the earliest appearances of Huni's cartouche can be found on the Palermo Stone P1, dating to the 5th dynasty, and on the Prisse Papyrus of the 13th dynasty. Huni's cartouche can also be found in the Saqqara kinglist and the Turin Canon, both dating back to the 19th dynasty. The Abydos kinglist, which also dates to the 19th dynasty, mysteriously omits Huni's name and gives instead a Neferkara I who is unknown to Egyptologists.

Above them at the top of the cartouche frame within another frame, appears a caption of the Hebrew word "אֱלֹהִים" - Elohim as the second name of God. The small cartouche at the bottom left quadrant shows a heraldic eagle and an inscription to sir Robert Cotton who encouraged Speed to start drawing maps.

Above the door is cartouche dating from the early 18th century. It is available for holidays through the Landmark Trust.

Cartouche is a 1962 French adventurer film directed by Philippe de Broca and starring Jean-Paul Belmondo and Claudia Cardinale.

Cartouche name of Hotepsekhemwy in the Abydos King List (cartouche no. 9). Hotepsekhemwy's name has been identified by archaeologists at Sakkara, Giza, Badari and Abydos from clay seal impressions, stone vessels and bone cylinders. Several stone vessel inscriptions mention Hotepsekhemwy along with the name of his successor Raneb.Wolfgang Helck: Untersuchungen zur Thinitenzeit (Ägyptologische Abhandlungen), Vol.

Whilst the stone vessel from Abusir writes Huni's name without a cartouche, but gives the Niswt-Bity-title, all other Old Kingdom writings place the king's name inside an oval cartouche. The ramesside versions use the hieroglyphic signs candle wick (Gardiner sign V28), beating man (Gardiner sign A25), water line (Gardiner sign N35) and arm with a stick (Gardiner sign D40). The cartouche No. 15 in the Kinglist of Saqqara writes two vertical strokes between the water line and the beating arm. The Prisse Papyrus omits the candle wick and the beating arm.

Cartouche on a map dedicated to William V, Prince of Orange (1781) Detail showing cartouche on the 1765 de l'Isle globe A cartouche in cartography is a decorative emblem on a globe or map. Map cartouches may contain the title, the printer's address, date of publication, the scale of the map and legends, and sometimes a dedication. The design of cartouches varies according to cartographer and period style. On 15th-century maps they are modelled after Italian precedent (simple strapwork), by the 16th century architectural and figurative elements (like coats of arms) are added.

The map provides a large cartouche in the upper left corner, which includes scenes from the New World implying imperial claims. The cartouche was done by the artist N. Guerard and carried the symbol of French royalty. Other parts of the cartouche included a Jesuit missionary performing a baptism of an Indian and a Recollects missionary guiding Indians toward the road to heaven. There is also the image of an Iroquois brandishing a scalp of a Frenchman, and Iroquois on a bed of thistles, a Huron holding rosary beads, and beaver.

He rescues her and she joins his gang. Returning to Paris, Bourguignon creates his own gang, acting under the name of Cartouche with most of Malichot's gang joining him. They make audacious robberies of the rich and distribute the loot to the poor. Thus, Cartouche attracts the people's sympathies, Venus's love, and hatred from Malichot and the authorities.

The seal is now in the Petrie Museum, catalog number UC 11616.Seal with the cartouche of Khamudi Petrie Museum Online Catalog.

They encircled it with a royal cartouche to mark it as a king's name, but following generations of scribes erroneously took it as the actual birth name of the to- be listed king. The Abydos King List presents the cartouche name Sedjes as the follower of king Sekhemkhet, which is interesting, since sedjes simply means "omitted" or "missing". Thus, the cartouche No.18 actually presents no real name, but an "erased" note, just like the hudjefa notes. Known examples for missing kings are Hudjefa I, Sedjes and Hudjefa II.Herman Alexander Schlögl: Das Alte Ägypten: Geschichte und Kultur von der Frühzeit bis zu Kleopatra.

Kurt Sethe proposed that the damaged sealing shows the serekh of Sanakht next to a fragmentary cartouche housing an archaic form of the sign for "ka". The cartouche is believed to be just large enough to have enclosed the further sign "Neb". In addition, a further two dozen sealings of Sanakht were uncovered in Beit Khallaf's nearby tomb K2, which John Garstang believed to be this king's tomb. If the identification of Nebka with Sanakht is correct, then Nebka is the earliest king to write his throne name in a cartouche and otherwise this innovation would pass to Huni.

The earliest specimens of the genre often include a devotional image of Mary in the cartouche but in later examples the image in the cartouche could be religious as well as secular. Garland paintings were usually collaborations between a still life and a figure painter. Van Kessel would typically paint the surrounding still life while a figure painter was responsible for the figure or other image in the cartouche. His collaborators on garland paintings are believed to have included his uncle David Teniers the Younger, Erasmus Quellinus the Elder, Hendrick van Balen the Elder, Thomas Willeboirts Bosschaert and possibly Jan Boeckhorst.

On the cornice above the sixth floor of the Fifth Avenue facade, there is a frieze, with a cartouche in the center flanked by a pair of lions. The cartouche on Fifth Avenue contains the inscription "ANNO D. MCMIIII", representing 1904, the year the building started construction. A simple frieze runs above the sixth floor of the 36th Street facade.

The oldest possible royal name source may come from an unfinished pyramid shaft at Zawyet el'Aryan. The shaft was excavated in 1904 by Italian Egyptologist Alessandro Barsanti. He discovered several black ink inscriptions inside the shaft, some of which actually show a royal cartouche name. Unfortunately, Barsanti made no facsimile, but sloppy drawings and all but the cartouche name remains illegible.

The first gateway crosses an enclosed cartouche of Ptolemy VI. On the interior façade of the first gateway are passages of Ptolemy XI and Ptolemy XIII. The jambs next to the first gateway depict Nefertum bearing a blue lotus flower. The second and fourth gateways contain cartouches in the name of Shabaka. The third gateway cartouche is in the name of Ptolemy XIII.

Senedj´s name is written in archaic form and set in a cartouche, which is an anachronism, since the cartouche itself was not yet used until the end of 3rd Dynasty under king Huni.Auguste Mariette: Les mastabas de l’Ancien Empire. Paris 1885, page 92–94Werner Kaiser: Zur Nennung von Sened und Peribsen in Sakkara, In: Göttinger Miszellen, no. 122, (1991), page 49–55.

Neo-Baroque city-house from Bucharest (Romania) A cartouche (also cartouch) is an oval or oblong design with a slightly convex surface, typically edged with ornamental scrollwork. It is used to hold a painted or low-relief design. Since the early 16th century, the cartouche is a scrolling frame device, derived originally from Italian . Such cartouches are characteristically stretched, pierced and scrolling.

Cartouche and his men place Venus's body in an expensive carriage they stole earlier from a nobleman and roll the carriage into a lake. As the carriage slowly sinks, Cartouche tells his men to disperse as he vows to avenge the death of his beloved Venus - a way that he anticipates will lead him sooner or later to the gallows.

Q1-X1:H8 There are variations of her name block. Cleopatra III uses the Egg hieroglyph as part of her name within her cartouche.

The coat of arms of Bolivia has a central cartouche surrounded by Bolivian flags, cannons, laurel branches, and has an Andean condor on top.

Ramesses II erected more colossal statues of himself than any other pharaoh, and also usurped many existing statues by inscribing his own cartouche on them.

Sahure's cartouche has been found in graffiti in Tumas and on seal impressions from Buhen at the second cataract of the Nile in Lower Nubia.

Additional proof marks and property markings are found on the receiver and barrel. There is a factory cartouche on the right side of the buttstock.

All the sculptures and decorations of the stern were repeated twice in a mirror fashion. An oval cartouche with the name of the ship was positioned in the center of the top part. The cartouche was framed by palm branches and flanked by two sitting glories blowing the trumpets. A naiad further to the ship edge was giving a laurel wreath to each glory.

Another cartouche figures prominently in the 16th-century title page of Giorgio Vasari's Lives of the Most Excellent Painters, Sculptors, and Architects, framing a minor vignette with a device of pierced and scrolling papery . The engraved trade card of the London clockmaker Percy Webster shows a vignette of the shop in a scrolling cartouche frame of Rococo design that is composed entirely of scrolling devices.

Cartouche name ...djeser-sah in the king list of Abydos. Note the upper part of the cartouche, which shows signs of erased hieroglyphs. The painted limestone statue of Djoser, now in the Egyptian Museum in Cairo, is the oldest known life-sized Egyptian statue. Today at the site in Saqqara where it was found, a plaster copy of the statue stands in place of the original.

In one sunken relief the queen is depicted wearing an embellished garment and bejeweled, sitting on a royal seat shaped as lion, carrying a spear and palm branch in her right, with her left hand raised. A double cartouche found in Naqa is dated to a later part of the second century BC which is said to be the earliest epigraph in meroitic hieroglyphs. However, the hieroglyphic cursive on the Queen's cartouche is called "classical" in style, not seen on the Jebel Barkal slab of Tanyidamani's cartouche who was considered Shanakdakhete's successor. Her pyramid was identified at Meroë, next to Tanyidamani's but not established as her name is not preserved.

Toby A. H. Wilkinson: Early Dynastic Egypt. Routledge, London/ New York 1999, , p. 85–89. The reading and translation of his cartouche name is also disputed.

Tughras served a purpose similar to the cartouche in ancient Egypt or the Royal Cypher of British monarchs. Every Ottoman sultan had his own individual tughra.

A cartouche on the London carpet contains the date A.H. 946, or 1539-40, which is thought to be the earliest date on any Persian carpet.

Paulette Thursday is Charlie's wife, portrayed by Linette Beaumont. First seen in Series 5, Episode 2, Cartouche, when Charlie and his family visit Fred's family in Oxford.

Egyptologist Iorwerth Eiddon Stephen Edwards, for example, identifies Khaba with the Ramesside cartouche name Teti.Iorwerth Eiddon Stephen Edwards u.a.: The Cambridge ancient history, vol.1, p. 156.

Unlike the other queens for the Fourteenth Dynasty, Tati seems to have played an official political role. A total of eleven scarab name seals of Tati have been found. They bear both her name and her royal titles enclosed in a cartouche. Such seals are otherwise only known for kings, heirs apparent and royal treasurers of the Fourteenth Dynasty, and the use of the cartouche is attested otherwise mainly for kings.

Another split, triangle pediment surmounts the large cartouche bearing the Viscount Preston family coat of arms above the fireplace, and this high quality carving has been attributed to John Etty, the master carpenter from York (c. 1634–1708), a comparison drawn with his work at Sprotborough Hall in Doncaster. Sprotborough was demolished in 1926. The fireplace itself is carved from Hildenby stone, with its own split triangle pediment below the cartouche.

The execution of Cartouche, 1721 Louis Dominique Garthausen, also known as Cartouche (1693, Paris – November 28, 1721, Paris), who usually went by the name of Louis Bourguignon or Louis Lamarre when he wanted to hide his identity, was a highwayman reported to steal from the rich and give to the poor in the environs of Paris during the Régence until the authorities had him broken on the wheel.

Kindstugatan in February 2007. Rococo front door of Number 13. Cartouche at Number 4. Kindstugatan is a street in Gamla stan, the old town in central Stockholm, Sweden.

Birth and throne cartouches of Pharaoh Seti I, from KV17 at the Valley of the Kings, Egypt. Neues Museum, Berlin In Egyptian hieroglyphs, a cartouche is an oval with a line at one end at right angles to the oval, indicating that the text enclosed is a royal name. The first examples of the cartouche are associated with pharaohs at the end of the Third Dynasty, but the feature did not come into common use until the beginning of the Fourth Dynasty under Pharaoh Sneferu. While the cartouche is usually vertical with a horizontal line, if it makes the name fit better it can be horizontal, with a vertical line at the end (in the direction of reading).

The cartouche painted by Quellinus in grisaille represents sculptures of the Virgin and Christ Child subduing the serpent. The serpent clutches the apple of Original Sin. The intricate stone cartouche is crowned at the upper corners with a pair of swans. Van Thielen painted ivy (a symbol of death, remembrance and eternal life) into the cartouches and added a variety of flowers: roses, jasmine, daffodils, snow drops, hydrangea, nasturtium, apple blossoms, anemones.

Presently, the dominant theory is that Sanakht's reign dates to the later Third Dynasty, after Djoser. Egyptologists Toby Wilkinson, Stephan Seidlmayer, Kenneth Kitchen and Rainer Stadelmann equate Sanakht with "Nebka", a name appearing in Ramesside king lists. In support of this theory is a clay seal fragment on which the lower part of a cartouche appears. In this cartouche Wilkinson, Seidlmayer and Stadelmann see traces of a Ka-sign, the end of the name "Nebka".

Iytjenu was an ancient Egyptian king of the First Intermediate Period, about 2100 BC. Very little is known about him as he is only indirectly attested in the name of a woman called Zat-Iytjenu - Daughter of Iytjenu. The element Iytjenu within the woman's name is written with a royal cartouche. In this period the cartouche was only used for writing a king's name. Therefore, her name must refer to a king.

This portal is adorned by three concentric circles, being surmounted by cartouche with the inscription "DE ANNO 1752". Above this are two windows with sills, lintel, framed by sash frames.

The print bears a black cartouche. The publisher's seal on this print has a different shape than on the others, and thus is suspected to be the last in the series.

The map has decorative enframes-cartouches on its sides, with two big cartouches at the top quadrants and two small ones at the bottom quadrants. The big cartouche at the top left shows the biblical Israeli leaders Moses and Aaron placing their hands on Israel's Tablets of the Law with the Ten Commandments inscribed in Hebrew. Above them at the top of the cartouche frame within another frame, appears a caption of the Hebrew word "יְהֹוָה" - YHWH, the tetragrammaton as the most sacred name of God. The big cartouche at the top right quadrant shows the biblical story of Adam and Eve in Paradise, which is based on Albrecht Dürer's engraving from 1504 under the title Adam and Eve - with small differences between the two.

92 and fig. 6.Flinders Petrie: Scarabs and cylinders with names : illustrated by the Egyptian collection in University College, London (1917) available online, see pl. XIX, seal under the name "Khondy". Modern scholarship has shown however that the cartouche on the seal is most likely to read "Khamudi", name of the last king of the Hyksos, and furthermore that this cartouche was inserted on the seal as a space filler rather than as an explicit reference to this king.

Sacred scarab in a cartouche of Thutmosis III from Karnak temple of Amun-Ra, Egypt Insects have long been used in religion, both directly (with live insects) and as images or symbols.

An example of a king's son who enclosed his name in a cartouche on a monument but never inherited the throne was Wadjmose, a son of the New Kingdom king Thutmose I.

One of these, dated 1674, is in marble and includes a segmental pediment and carved festoons, a cartouche, cherubs and drapery. There are further marble memorials dating from the 18th and 19th centuries.

A balustrade encircles the roof's edge and is punctuated by a pediment with a cartouche above the south entrance. Interior decorations include Doric columns, fretwork floor tiles, Roman-style grilles, and architrave trim.

Particularly in Yaxchilan, the ancestral king is seated within a solar cartouche, his wife in a lunar crescent. The solar aspect of a king often seems to imply apotheosis and life after death.

Chintz fragment with tulips and insects (reportedly found in Japan), Coromandel Coast, India, ca.1700-30. Chintz Panel (India), 18th century. Shaped cartouche pieced from a palampore. Background of red and white chintz.

Still Life, Vision and the Devotional Image, Ashgate Publishing, Ltd., 2012David Freedberg, "The Origins and Rise of the Flemish Madonnas in Flower Garlands, Decoration and Devotion", Münchener Jahrbuch der bildenden Kunst, xxxii, 1981, pp. 115–150. Garland paintings were usually collaborations between a still life painter who painted the garland and a figure painter who filled the central cartouche with an image. The cartouche in the center of Caproens's garland paintings is filled with religious as well as mythological imagery.

Qakare's personal name is Ini although in literature he is sometimes reported as Intef or Initef; curiously, the epithet son of Ra is placed inside the cartouche, thus rendering his name Sa-Ra-Ini.

For the ruling head of Persia, this cartouche is fairly regulated, ("al-soltān Official name Shāh Qājār"), while for anyone else, it may include a longer name, a lesser title or a short genealogy.

From Neferirkare's time onwards, the nomen, or birth name, was also written in a cartouche systematically preceded by the glyphs for "Son of Ra", an epithet which had seen little use in preceding times.

1 [1], pl. 80 [a] In addition, two scarab-seals found in debris from the north pyramid cemetery at el-Lisht bear the name Sehetepibre, written without a cartouche or royal title.MMA 09.180.1203, 09.180.

The cartographic cartouche had its heyday in the Baroque period. Toward the end of the 18th century ornamental effects in cartography became less popular, their style developed to simple oval or rectangular fields with inscriptions.

A vase of unknown provenance is located in the National Archaeological Museum of Florence and reads "Horus Wadjtawy, living eternally, king of Upper and Lower Egypt, son of Ra, Unas, living eternally". Another vessel, of unknown origins, is on display at the Louvre Museum. It is a , globular alabaster vase finely decorated with a falcon with outstretched wings and two uraei, or rearing cobras, holding ankh signs surrounding Unas' cartouche. An ointment jar bearing Unas' cartouche and Horus name is in the Brooklyn Museum.

Garland paintings were typically collaborations between a still life specialist and a figure painter. Still life of roses hanging from a blue ribbon with a red admiral and a cabbage butterfly Luyckx painted a number of garland paintings. In a few of these the cartouche was painted later by an unknown hand. An example is the Cartouche with Flowers (Princeton University Art Museum), which shows a flower garland around a portrait of Peter Paul Rubens painted at a later date by an unknown artist.

The title Sa-Rê, literally meaning "Son of Ra", was written with the sign of a sun-disc and that of a goose placed below. At the beginning, the sun and goose signs were placed at the end of the cartouche containing the name of the king. This was read as: "King of Lower- and Upper Egypt, king XXX, son of Râ". Later it was placed before the cartouche, introducing the nomen of the king and now read as: "Son of Râ, king XXX".

British Museum Press, London 1993, page 67–72 & 84. A cylinder seal of unknown provenance shows Peribsen's name inside a cartouche and gives the epithet Merj-netjeru ("beloved of the gods"). This arrangement leads Egyptologists and archaeologists to the conclusion that the seal must have been created later, in memoriam, because the use of royal cartouches began long after Peribsen's reign. Another seal of the same material shows Peribsen's name without a cartouche, but with the royal title Nisut-Bity ("king of Upper- and Lower Egypt") instead.

In the later development of the genre, the cartouche in the centre of garland paintings was often a secular scene such as a portrait or an allegorical subject.Ursula Härting, Review of Susan Merriam, Seventeenth- Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image Garland paintings were usually collaborations between a still life and a figure painter. Brueghel collaborated with specialist figure artists who would paint the devotional images in the cartouche while Brueghel painted the flowers and flower garlands in the picture.

This title followed the cartouche as an emendation of the birth name. King Neferirkare Kakai, the third ruler of the Fifth Dynasty, was the first who separated the nswt-bjtj- and the sa-rê crest and turned them into two different, independent names: nomen and prenomen. Now the title sa-rê introduced the new name and it was also placed in a cartouche. During later times, pharaohs often used both names, prenomen and nomen, in cartouches, which sometimes led to confusion amongst Egyptologists in the past.

Kampp 150 is an ancient Egyptian tomb located in the Dra' Abu el-Naga' necropolis in Thebes. Based on a cartouche inscription, it probably dates back to the reign of Thutmose I of the Eighteenth Dynasty.

The eastern and western facades are decorated with wall setbacks. The fronts are designed with pilasters, stucco, heraldic insertions, wreaths, cartouche and medallions. The building has complex configuration. The grand staircase is situated in its central part.

Henry, painted with his hunting dog, is portrayed in the act of drawing his sword. Catherine's panel contains a cartouche with Cranach's initials, the year of execution and a winged snake, the symbol of the painter's workshop.

Saint Casimir did not receive the order and it was likely added to appease King Sigismund III Vasa. The order is also present in the cartouche outside the chapel which records information about its completion in 1636.

In this technique of enameling, an opaque white outlined cartouche is fired and leveled with the stone to be embedded. On cooling down the enamel develops a hard coating around and the stone is set in it.

He filed a lawsuit against his former master for not paying him for works he had produced under his own name. He also began several commissions, such as the altarpiece for Santa Sofia church in Padua, now destroyed. It is signed and dated 1448 on a small cartouche in the foreground, inscribed "INCLITA MAGNANIMI VEN... / EVANGELISTA PAX TIBI M[ARC]E / ANDREAE MANTEGNAE PICTORIS LABOR". The use of a cartouche in the way originated in Flemish art and was also used by other Italian artists such as Filippo Lippi.

Top view: The top shows malicious damage to the stela where the cartouche was chipped away. Back view: Like the top view, the cartouche has been eradicated. Cassirer suggests Akhenaten, Amenhotep III's son and successor, was responsible for defacing the king's name on the stela. Akhenaten detested his royal family name so much, he changed his own name from Amenhotep IV to Akhenaten; he vandalized any reference to the god Amun since he had chosen to worship another god, the Aten. Other gods displayed on the stela, Re and Ma’at, showed no sign of vandalism.

The cartouches in the garlands typically depict religious or mythological themes. Unlike his master Seghers whose flower garlands are dynamic, van Thielen arranged the flowers and leaves of his flower garlands in a regular manner. An example of a collaboration of van Thielen and Quellinus on a garland painting is A Stone Cartouche with the Virgin and Child, Encircled by a Garland of Flowers (Chrysler Museum of Art) (1651), which is signed by both artists. Van Thielen painted the flower garland while his brother-in-law Erasmus Quellinus painted the cartouche.

Egyptologists John D. Degreef, Nabil Swelim and Wolfgang Helck resisted the equation of Nebka with Sanakht in earlier research. They underline the heavily damaged nature of the Beit Khallaf seal fragment and hence that the alleged cartouche can be hardly identified with certainty. Instead, they propose that the cartouche could actually be the oval-shaped crest of a royal fortress with one or several boats in it, a city that may have already been mentioned under the name “Elder's boats” in sources dating to the Second Dynasty king Peribsen.

It had been displayed in the cathedral choir area during the 1901 celebration when the cathedral was designated a basilica; the basilica of the Annunciation. Just by this painting and in the third ogive there is a cartouche surmounted by a mitre and cross carried by two angels. The cartouche bears the coat of arms of Monseigneur Guy le Clerc who was the Léon bishop from 1514 to 1521 and his motto "Battons et Abattons". Guy le Clerc was almoner to Queen Claude de France, the wife of François the First.

Since the revision of street names in 1885, this alley is, however, made part of the western section. cartouche at Number 4. Over the porch of Number 4 is a sandstone cartouche dating back to the 1670s and displaying the message: : "dVM sChoLa teVton ICI CoetVs eXstrVCta VIgesCIt, eXsVrget StVdIIs gLorIa IVsta pIIs" a Latin sentence meaning "As long as the school of the German parish prosper, conscientious studies will bring true honour". The Latin numbers in the sentence - an encrypted message - summon up to the year 1670.

Officers wear a silver braid cross-belt with a silver cartouche box from 1847 with the Lesser Coat of Arms with the Royal Order of the Seraphim. Non-commissioned officers (OR-6 and above) wear a white braid cross-belt with a black leather cartouche box from 1895 with the Lesser Coat of Arms surrounded by beams and two swords, all in gold. The weapon mainly used in ceremonial duties is the mauser m/1894-1914 with bayonet. The standard issue Ak 5c may also be used as an exception together with the parade uniform.

In 1676 Teniers collaborated with his nephew or cousin Gualterus Gysaerts, a still life painter, on a series of 19 garland paintings depicting the martyrs of Gorkum. The series was made for the Minorite Church in Mechelen following the beatification of the martyrs on 9 July 1676. Teniers painted the monochrome bust portrait of each martyr in a cartouche while Gysaerts painted the cartouche and the flower garland surrounding it. Of these paintings, eight are known still to exist, one of which, depicting the martyr Hieronymus van Weert, is in the Rijksmuseum.

The front lobby is also lit from the rear by a six-over-six double-hung sash set with leaded and stained glass, opaque on the bottom but with a cartouche and swag on top. The stair climbs to a Palladian window, also with stained glass. It is decorated with swags and ribbons, corner cartouches and panels topped with eagles in the center and vases and foliation topped with a lit torch on the outer panels. A cartouche-enclosed oval at the top has the date "1915" carved within.

Furthermore, several alabaster and travertine fragments of seated statues, which were found by George Reisner during his excavations at Giza, were once inscribed with Khufu's full royal titulary. Today, the complete or partially preserved cartouches with the name Khufu or Khnum-Khuf remain. One of the fragments, that of a small seated statue, shows the legs and feet of a sitting king from the knuckles downward. To the right of them the name ...fu in a cartouche is visible, and it can easily be reconstructed as the cartouche name Khufu.

"Carta particolare che comincia con l' Isola di S. Tomaso o Tome....Clara e finisce con Il c. d' Aldeas". This map of the shoreline of the African Congo includes an elegant cartouche, and islands off the coastline.

Items imported to Cyprus during the Late Bronze Age include "a faience sceptre with the cartouche of Pharaoh Horemheb"; and an opium pipe. Wall mounted text tells about excavations including those at Tourapi (Τουραπή), in present-day Larnaca.

Cartouche on pillar. The ancient Egyptian Adze on a Wood Block, or Axe in a Block of WoodBetrò, 1995. Hieroglyphics: The Writings of Ancient Egypt, Axe in a Block of Wood: p. 229. hieroglyph, Gardiner sign listed no.

On one of these fragments part of the stucco decoration remained, this was a cartouche with the royal version of the motto of the Order of the White Eagle — "PRO FIDE, LEGE ET REGE" (for Faith, Law, and King).

Windows are mainly double hung sashes with highlights above. A major feature is the stone, arched entry porch on the corner. It is double faceted and has ornate impost mouldings and archivolts. Above the corner is an embellished cartouche.

Basalt fragment. Part of a necklace, in relief, is shown together with a cartouche of Seti I. 19th Dynasty. From Egypt. The Petrie Museum of Egyptian Archaeology, London Seti I's reign length was either 11 or 15 full years.

Amada - Temple founded by Tuthmosis III and Amenophis II of the 18th dynasty Bronze knife blade inscribed with cartouche of Thutmose III, "Beloved of Min of Koptos". 18th Dynasty. Probably foundation deposit no.1, Temple of Min, Koptos, Egypt.

Above the central panels is a cartouche, and over the side panels are smaller closed pediments. The sanctuary is paved with black and white marble. The roof is in five bays. The wooden font dates from the 17th century.

A collaboration with Erasmus Quellinus II is reported by the Dutch biographer Arnold Houbraken.Emelraad in: Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 1718 The Royal Museums of Fine Arts of Belgium holds the 1672 painting The Legend of William Tell shown to the Antwerp Guild of St Sebastian, which is a collaboration between Immenraet, Wilhelm Schubert van Ehrenberg (who painted the architecture) and Karel- Emmanuel Biset.The Legend of Willem Tell shown to the Antwerp Guild of St Sebastian at the Royal Museums of Fine Arts of Belgium He also worked with Nicolas Robert on the painting Cartouche with floral decoration and two parrots around a landscape, with Immenraet painting the landscape and Robert the surrounding cartouche (private collection).Cartouche with floral decoration and two parrots around a landscape at the Netherlands Institute for Art History Immenraet was also active as an engraver.

St Euphemia is a glue on tempera painting of Euphemia by Andrea Mantegna, now in the Museo nazionale di Capodimonte in Naples. It is signed and dated 1454 on a small cartouche at the bottom, inscribed "OPVS ANDREAE MANTEGNAE / MCCCCLIIII".

Carol Thursday is Charlie and Paulette's daughter, portrayed by Emma Rigby. She appears to be a similar age to her cousin, Joan. First seen in Series 5, Episode 2, Cartouche, when Charlie and his family visit Fred's family in Oxford.

Under the cartouche is an inscription reading: On the north side of the plinth the inscription reads: followed by a list of names. On the south side of the plinth is the following inscription: followed by a list of names.

Baker (1954), p. 275Hardy, p. 173 Pevsner described the 1741 cartouche on the north wall, which contains the college crest, as "large [and] rich". The hall contains a portrait of Elizabeth I, as well as portraits of former principals and benefactors.

There are short text lines mentioning the deities Duamutef and Qebehsenuf. In the center of the wall appears the cartouche with the king's name Senebkay. The South wall is much destroyed. There are visible the remains of two female deities.

An inscription bearing the words "TE FILI SIQUIS LAESERIT ULTOR ERO"Pope-Hennessy, John Wyndham. "Benvenuto Cellini"// Abbeville Press. [Hazan pour l'édition française], 1985. P. 175 is carved on the marble cartouche beneath Jupiter's niche on the base of Cellini's "Perseus".

The prints issue by Yamashiro have a red outline around the title cartouche and bear his mark . The prints do not bear the titles listed below; they are provided by art historians, and sometimes differ, both in English and Japanese.

The municipal coat of arms for Altheim show a beaver, facing right but turned to the left, holding a cartouche topped with a ducal crown, both of gold, containing the Austrian flag in its front paws standing on a grassy shore upon a field divided party per fess into gold and red sections. This pattern was given to Altheim by Leopold I, Holy Roman Emperor, on 21 January 1681. The beaver (), paired with the grass and water, is a reference to Altheim's old name, Altheim am Biberach, and the cartouche refers to Biberach's rule by an Austrian vogt.

Egyptologist Ludwig Borchardt had already proposed by the beginning of the 20th century that the old and ramesside cartouche versions were referring to one and the same king. He proposed that ramesside scribes erroneously took away the juncus sign of the Niswt-Bity title and placed it before the royal cartouche, not realizing that this sign was part of the original birth- or throne-name of Huni. He also proposed that the candle wick was misinterpreted as the sign for "smiting", tempting the ramesside scribes to place the hieroglyph of a beating man behind it. These conclusions are still shared by scholars today.

In the inscription in Wadi Hammamat Baufra´s name is written in a royal cartouche, which brings up some confusion within egyptology, since Baufra is neither contemporarily nor archaeologically attested. It might be that he was worshipped as a local patronate of the mine workers. A similar phenomenon can be observed with prince Hordjedef, whose name is also erroneously written in a cartouche, despite the fact that he is handed down by archaeologically attested inscriptions as a “son of the king” only. Baufra´s name appears as the last name in a list naming the kings Khufu, Djedefre, Khafre and Hordjedef.

The nine bows concept of internal ancient Egyptian rebels, as well as 'foreign' rebels, began with actual bows, for example under Pharaoh Djoser's feet on his seated statue, 3rd Dynasty; (his feet rest upon 9 bows). The more prolonged use of the 'prisoner' hieroglyph in language and iconography continued into New Kingdom, and Ptolemaic times with the prisoner hieroglyph, as a "foreign rebel people" presented and named inside of a "cartouche". The 'cartouche' was often identified on its perimeter ring with the fortifying blocks of a city fortification, representing either the people, or their city-state location.

Penamun does not appear on any king list and his damaged cartouche was only found on a stone block from Kom Abu Billo (ancient Terenuthis) in the western Nile Delta., § 79 According to Jürgen von Beckerath, Penamun should have been a local Delta ruler during the 25th Dynasty (744–656 BC) who adopted the royal titulary; von Beckerath argues that he put his praenomen and nomen within the same cartouche, and that the lost portion on it could have contained the hieroglyph for "Re" (N5 in Gardiner's sign list) i.e. the standard suffix for pharaonic praenomina, thus becoming a Merytawyre., pp.

She is nowhere mentioned as King's Wife, but on the aforementioned carnelian plaque her name is enclosed in a cartouche, a privilege which only kings and their wives were entitled to. After the death of her father she is not mentioned again.

Many of these objects are now on display at the Boston Museum of Fine Arts. A nearby rectangular building of brown sandstone, now known as Nuri 500, may have been a funerary chapel. It yielded an alabaster votive tablet bearing Atlanersa's cartouche.

The decks sold well, drawing a business transaction between Jed Collard and the American book publisher St. Martin's Press. Following this success, oversized cards and a larger guidance book were printed by St. Martins.The Egyptian Cartouche. Healing Energies at London West, 2007 .

Accessed 2010. Her final contribution was the book The Way of Cartouche, published in 1985. In 1988 Hope founded the Institute of Transpersonal Sensitivity in America,Shirley Andrews, Lemuria and Atlantis: studying the past to survive the future, 2004; p. 235. Llewellyn Publications. .

The real Guermantes provided locations for Philippe de Broca for Cartouche (1962), the Polish director Andrzej Wajda for Danton, Miloš Forman for Amadeus (1984) and Stephen Frears for Dangerous Liaisons (1988). Guermantes is not open to the public. It lies from Euro Disneyland.

Cartouche's personal dash and exploits were exploited in ballads and popular prints and have been revived in bodice- rippers and the swashbuckling romance with slapstick comedy of the film Cartouche (1962) by Philippe de Broca, starring Jean Paul Belmondo and Claudia Cardinale.

University of Michigan Press, 2001. Page 104. The names (each surrounded by a border known as a cartouche), of which only forty-seven survive, are badly damaged. As with other Egyptian king lists, the Saqqara Tablet omits certain kings and entire dynasties.

Neferuptah is one of the first royal women whose name was written inside a cartouche. Although she never had the title 'king's wife', she must have had a special status; it is possible she was regarded as a future ruler., p.98Dodson & Hilton, p.

They contain one window flanked by pilasters. The porch continues onto the main facade's two bays. On the first floor, the northern bay serves as the main entrance. It is topped with a carved cartouche consisting of the WH monogram, ribbons, fruits and oak leaves.

Scaled-down versions of the characters (ぅ, ゥ) are used to create new morae that do not exist in the Japanese language, such as トゥ (tu). This convention is relatively new, and many older loanwords do not use it. For example, in the phrase Tutankhamun's cartouche, the recent loan cartouche uses the new phonetic technique, but the older loan Tutankhamun uses ツ (tsu) as an approximation: ツタンカーメンのカルトゥーシュ Tsutankāmen no karutūshu The character う is also used, in its full-sized form, to lengthen "o" sounds. For example, the word 構想 is written in hiragana as こうそう (kousou), pronounced kōsō.

This town house served its tenants until 2002, when it was closed. At the same time, a careful reconstruction of the whole property commenced, and the authentic wooden ceilings, ribbed vaults, wall fresco paintings and an original porcelain cocklestove have been retained in what is now a hotel. Of note are exquisite details such as a Medusa relief over the left entrance, a cartouche and a small head next to it beyond the right entrance, an oval cartouche with a painting of Virgin Mary and the Holy Trinity above the second floor windows or the functional sun dial placed on the façade in the inner block.

The genre was initially connected to the visual imagery of the Counter-Reformation movement.David Freedberg, "The Origins and Rise of the Flemish Madonnas in Flower Garlands, Decoration and Devotion", Münchener Jahrbuch der bildenden Kunst, xxxii, 1981, pp. 115–150. The genre was further inspired by the cult of veneration and devotion to Mary prevalent at the Habsburg court (then the rulers over the Southern Netherlands) and in Antwerp generally. The earliest specimens of the genre often include a devotional image of Mary in the cartouche but in later examples the image in the cartouche could be religious as well as secular as is the case of Teniers's The Soap Bubbles.

An erotic bronze sculpture cast by Bergmann, c. 1910 Bergmann was noted for his detailed and colorful work. He signed with either a letter 'B' in an urn-shaped cartouche or 'Nam Greb' – 'Bergman' in reverse. These marks were used to disguise his identity on erotic works.

Bydgoszcz 2008. Its footprint is rectangular, with an inner courtyard as a well and two wings running along Gdańska Street and Freedom Square. The building has three storeys, a cellar and an attic. Facades are richly decorated with pilasters, cartouche motifs and balconies ornamented with baluster railing.

Chernivtsi coat of arms – framed by a bronze ornamental cartouche, a red heraldic shield depicting an open stone gate with a figured trident in the middle. Under the gate, there are two crossed laurel branches, tied with ribbons. The crown of the symbol is the stone crown.

Beketamun or Beket was a princess of the Eighteenth Dynasty of Egypt, a daughter of Pharaoh Thutmose III., p.138 Her name means “Handmaid of Amun”. Her name is inscribed on a faience votive object (together with her father's cartouche) found in Deir el-Bahri (now in Boston).

Chronicle of the Queens of Egypt. p.111. Thames & Hudson. 2006. Some of the treasures found within their tomb include gold diadems, gilded gold, toe and feet sandals, gold, carnelian and glass bracelets together with other vessels. Each of their bracelets are inscribed with the cartouche of Thutmose III.

Hope claimed to remember her past lives including not being human by belonging to the devic kingdom.Cooper, Primrose. The Healing Power of Light, Weiser Books; p. 128. . In her esoteric essays Hope created the Cartouche, a method of divination which used cards that she claimed heightened levels of awareness.

Peter van Kessel (Attributed), Garland of flowers surrounding a stone cartouche enclosing a bust of the Virgin, Christie's Amsterdam sale of 13–14 May 2014 lot 67 Stylistically his garland paintings are close to those created by Jan van Kessel the Elder who may have been a family member.

The gatehouse consists of two storeys of red brick laid in English bond and a hipped slate roof. In the west wall is a four-centred stone doorway with a stone over it inscribed "T C 1552" and a cartouche of the arms of Archbishop Parker of Canterbury.

The film was a follow up to Cartouche, a popular swashbuckler with Belmondo. It was decided that he should star in a James Bond spoof. Italian finance meant the Italian actor Adolfo Celi was cast. Jean-Paul Belmondo's personal tastes were Tintin comics, sports magazines and detective novels.

Her earliest works, including book illustrations, were generally in woodcut, but later she worked mostly in multi-layered linocut, often with as many as eight or nine different colours, generally printing on handmade Japanese paper. Most prints were unsigned, but some contained the initials "YD" in a cartouche.

Young and others would later use the fact that the Cleopatra cartouche had been identified by Bankes to claim that Champollion had plagiarized his work. It remains unknown whether Champollion saw Bankes' margin note identifying the cartouche or whether he identified it by himself. All in all, using this method he managed to determine the phonetic value of 12 signs (A, AI, E, K, L, M, O, P, R, S, and T). By applying these to the decipherment of further sounds he soon read dozens of other names. Astronomer Jean-Baptiste Biot published a proposed decipherment of the controversial Dendera zodiac, arguing that the small stars following certain signs referred to constellations.

4, p. 26 The texts record the pharaoh's titulary and call him the "king of Upper and Lower Egypt, Woseribre, the son of Re, Senebkay". Senebkay's name was found inscribed inside a royal cartouche. Some of the burial equipment, such as the wooden canopic box, were taken from older tombs.

The cartouche of pharaoh Woseribre Senebkay, inside the king's burial tomb. The existence of an Abydos Dynasty was first proposed by Detlef FrankeDetlef Franke: Zur Chronologie des Mittleren Reiches. Teil II: Die sogenannte Zweite Zwischenzeit Altägyptens, In Orientalia 57 (1988), p. 259 and later elaborated on by Kim Ryholt in 1997.

Khenut owned the western half, and Nebet owned the eastern half. Their chambers were extensively decorated. The chapel for Nebet's mastaba contains four recesses. One bears a cartouche of Unas's name, indicating that it may have contained a statue of the king, whereas the others contained statues of the queen.

Over the door of No. 11 is a cartouche containing the date 1903. On the gables and on the summits of the turrets are finials. The chimneys and the rear of the cottages are constructed in brick. No. 13 is at the south end of the street and has two storeys.

A number of large monuments include John Rede, d.1604 in the south chapel is of alabaster stone with a recumbent effigy in marble on a partially rolled mat. A flat arch spans two columns, with a large cartouche beneath. On the ground are the figures of 10 kneeling infants.

The pulpit was made early in the 18th century but its tester is dated 1639. There is also a carved memorial cartouche to the Irish peer Viscount Ikerrin (died 1712). The bell-turret has a ring of five bells. Four were cast by John Stares of Aldbourne, Wiltshire in 1744.

The character at the left of Jesus is a true caricature, perhaps inspired by one of Leonardo da Vinci's drawings seen by Dürer. The man in the lower left corner has a cartouche on his beret, a custom of the Pharisees. The one on the opposite side is perhaps a citation of Bellini.

Yoga Journal – issue 103, The way of Cartouche, Mar/Apr 1992. Active Interest Media, Inc; p. 102. She contracted Martin Jones in 1983 to develop artwork for the deck with symbols. The same year Hope and Jed Collard founded Ostaris Publications which produced 3,000 decks of these cards with accompanying guide book.

The stepped gable was richly decorated with ornate side-pieces (klauwstukken), scrollwork and decorative vases. The front entrance is framed by a pediment- shaped gate with two Ionic pilasters. The cartouche above the gate reads "1633", the year construction on the building started. In 1739, 1836 en 1937, the building underwent renovations.

Architrave with the cartouche of Amenhotep III in the Soleb temple Soleb is an ancient town in Nubia, in present-day Sudan. The site is located north of the third cataract of the Nile, on the western side of the Nile. It was discovered and described by Karl Richard Lepsius in 1844.

It is elaborately carved on the inside with a decorated cartouche and a cherub-head. Casson called it the college's "most engaging" feature. The original gables over the front of the lodgings were removed and replaced with battlements between 1733 and 1740. John Nash drew up plans to alter the lodgings in 1802.

Dows Dunham and M. F. Laming Macadam, Names and Relationships of the Royal Family of Napata, The Journal of Egyptian Archaeology, Vol. 35 (Dec., 1949), pp. 139-149 Akhratan is known from a cartouche in a chapel and from a black granite statue found in Barkal Temple 500, now located in Boston (23.735).

He published a number of articles arguing that Egyptian hieroglyphs and Chinese characters were related, one deriving from the other. Although he was mistaken in that, he is recognized for proving that cartouche rings in Egyptian texts contained royal names, a thesis he developed from a hint previously made by J. J. Barthélemy.

Fragment of a limestone block showing the cartouche of Ramesses II and the name of Nebwenenef. 19th Dynasty. From Kurna (Qurna), Thebes, Egypt. The Petrie Museum of Egyptian Archaeology, London Before being appointed High Priest of Amun, Nebwenenef was High Priest of Hathor at Dendera and High Priest of Anhur at Thinis.

During his stay in Rome he also collaborated with Poussin and Domenichino. Saint Ignatius in a cartouche with flowers and cherubs Unlike in his later collaborations, Seghers is believed to have added flower garlands to existing paintings by Domenichino during his residence in Rome.Richard E. Spear, "Domenichino Addenda," The Burlington Magazine, vol.

Designed in the Chicago School style of architecture, the building expresses the utilitarian and structural function of the building. It emphasizes openness and mass, while also pointing to the elegance and flexibility of the "neutral cage". The exterior of the building is primarily terra cotta and brick with ornamentation and cartouche features.

In the northeast corner of the nave is the civic pew which contains a wrought iron stand to hold the mayor's mace. Above this pew is a cartouche carrying the Cinque Port Arms. The large font stands between the nave and the aisle. It is Norman in style and carved with blank arcading.

Chest with a cartouche and carved relief showing an outdoor scene, Ryukyuan lacquerware, circa 1750–1800 Ryukyuan lacquerware is one of the chief artistic products of the Ryukyu Islands (today Okinawa Prefecture of Japan); it is quite distinct from the lacquerware found among the surrounding cultures. Nevertheless, Chinese and Japanese influences are present.

The entrance has a decorative surround in red granite. A cornice over the entrance supports a cartouche. The window immediately above the entrance is surmounted by a broken bed pediment. Other windows on this level have a projecting cornice where as the windows on the levels above and below have only simple architraves.

It was also examined by George Andrew Reisner, who mentioned it shortly in his book Mycerinus, the Temples of the Third Pyramid at Giza.George Andrew Reisner: Mycerinus, the Temples of the Third Pyramid at Giza. Harvard University Press, Boston 1931, page 105.Toby Wilkinson: Early Dynastc Egypt. Routledge, London 2002, , p. 74 & 75. The next source referring to king Senedj dates back to the beginning or middle of the 4th Dynasty. The name, written in a cartouche, appears in the inscription on a false door belonging to the mastaba tomb of the high priest Shery at Saqqara. Shery held the title “overseer of all wab-priests of king Peribsen in the necropolis of king Senedj”, “overseer of the ka-priests of king Senedj” and “god's servant of Senedj”. Senedj's name is written in archaic form and set in a cartouche, which is an anachronism, since the cartouche itself was not used until the end of 3rd Dynasty under king Huni.Auguste Mariette: Les mastabas de l’Ancien Empire. Paris 1885, page 92–94Werner Kaiser: Zur Nennung von Sened und Peribsen in Sakkara, In: Göttinger Miszellen, no. 122, (1991), page 49–55.

The façade of the building is neo-classical style, with balconies facing three sides: Kr. Valdemara Street (the Museum and Academy of Arts), Kalpaka Boulevard (Kronvalda park) and the hotel's yard with a garden. In 1892 the building had a portal with caryatides attached on the side of Kr. Valdemara Street. Bas-reliefs of horse heads have been retained on the former stable building. Underneath it today is underground parking with a car lift. Previously a cartouche on the side of Kalpaka Boulevard which is held by two Cupids had the letter “F”, which represented the initial letter of the building owners – Fenger. Today the cartouche is decorated with the letter “E”, which must have some relation to the current owners of the hotel.

Nebka (meaning "Lord of the ka") is the throne name of an ancient Egyptian pharaoh of the Third Dynasty during the Old Kingdom period, in the 27th century BCE. He is thought to be identical with the Hellenized name Νεχέρωχις (Necherôchis or Necherôphes) recorded by the Egyptian priest Manetho of the much later Ptolemaic period. Nebka's name is otherwise recorded from the near contemporaneous tomb of a priest of his cult as well as in a possible cartouche from Beit Khallaf, later New Kingdom king lists and in a story of the Westcar Papyrus. If the Beit Khallaf seal impression is indeed a cartouche of Nebka, then he is the earliest king to have thus recorded his throne name, otherwise this innovation can be ascribed to Huni.

268-269Jürgen von Beckerath: Handbuch der ägyptischen Königsnamen (Münchner ägyptologische Studien), 1984 Neferkare Khendu's name is attested on the Abydos King List (number 45), a king list dating to the Ramesside-era, and is absent from the Turin canon as a large lacuna in this document affects most kings of the 7th/8th Dynasty. Cylinder seal with the cartouche "Khamudi", tentatively attributed to Neferkare Khendu by Henri Frankfort. No attestation is firmly attributable to Neferkare Khendu beyond the Abydos king list, although a cylinder seal inscribed with the cartouche Ḫndy, "Khendy", has been tentatively attributed to him by the egyptologist Henri Frankfort in 1926.Henri Frankfort: Egypt and Syria in the First Intermediate Period in JEA, vol 12 (1926), see p.

Title page for Joan van Beverwyck, Alle de wercken, zo in de medicyne als chirurgie, Amsterdam, J.J. Schipper (publisher) 1656 Fragment of title page with cartouche of a deer hunt, bordered by swans, printed by the widow of Jan Jacobsz. Schipper Jan Jacobsz. Schipper (1616-1669) was a bookseller, printer, and theatre poet in Amsterdam.

He signed it on a cartouche on the trompe l'oeil marble parapet in the foreground. The work was bought by Consul Smith and then passed into the British Royal Collection in 1762 when George III of the United Kingdom bought Smith's collection. In 2018 it hung in the King's Closet of Windsor Castle.Royal Collection page.

Verlag der Akademie der Wissenschaften und der Literatur, Mainz/Wiesbaden 1950, page 55.Toby Wilkinson: Early Dynastic Egypt. page 90–91; see also: Walter Bryan Emery: Ägypten – Geschichte und Kultur der Frühzeit. page 106. Egyptologists such as Helck identify Sekhemib with the ramesside cartouche name “Wadjenes” and equate Peribsen with a king named Senedj.

Orrego Corzo and Schieber de Lavarreda 2001, pp. 789–90, 800. alt=a flat stone with a sculpted bas-relief design. Two clawed feet at the left support a cartouche containing a seated figure, seen from the side with head to the right. Altar 13 is another early Maya monument dating to the Late Preclassic.

The nave has a central aisle with two side aisles. The chancel is flanked by sacristies to the left and right; access to the sacristies is from the chancel. The chancel and nave are divided by a simple chancel arch of stone; it lacks the decoration and cartouche found in churches of the 18th century.

The northeast portion of the island contains a New Kingdom of Egypt temple and numerous mills associated with ancient gold production. Nearby is an Ottoman Empire fort composed of sandstone quarried along the river banks, and spolia bearing the cartouche of Amenhotep IV, amongst other 18th Dynasty rulers. Numerous round tombs are close by.

A crimson ribbon passes through a silver suspender clasp with small gold laurel leaves. For the first 20 medals cast in 1871, the reverse of the suspender clasp contains the cartouche of the goldsmith Messrs Phillips Brothers and Son of Cockspur Street, London; which was omitted from a further five medals cast in 1886.

Above each door is a pair of ionic order columns joined by a decorative balustrade. Between each of the two pairs of columns are two windows separated by an oval cartouche. A triangular pediment with an eagle signifies that this is a federal building. Floral designs within the triangle top each of these entries.

The middle and top storeys contain six two-light mullioned and transomed windows in pairs. The gable is stepped and contains a row of six windows, over which are two more windows. Between these is the date 1884 in brick moulding. In the apex of the gable is the cartouche of the police force.

In addition to the name seals listed above, Kunimasu used three symbol seals: a bat-shaped seal, the symbol 寿 [ju - longevity], and the toshidama-in cartouche. The latter distinctive mark was reserved for members of the Utagawa school of print designers. Examples of other seals applied to Kunimasu's prints exist, but are indecipherable.

Its round-arched entrance is topped with a cartouche, within which is inscribed a Star of David."Conservancy holds exclusive tour of historic Queens Synagogues" , New York Landmarks Conservancy website. Accessed April 2, 2010. Among the synagogue's features is a set of murals by French artist Louis Pierre Rigal, added a few years after the building was completed.

Copper plate, probably part of an axe-blade, showing cartouche of Hatshepsut. Foundation deposit in a small pit covered with a mat, Deir el-Bahri, Egypt. 18th Dynasty. The Petrie Museum of Egyptian Archaeology, London The focal point of the Deir el-Bahari complex is the Djeser-Djeseru meaning "the Holy of Holies", the Mortuary Temple of Hatshepsut.

"Carta Quarta Generale di Europa", 1646 is one of the larger scale, generalised (Carta Generale) maps and shows the West coast of France, southward from La Rochelle, and the Northern coast of Spain. This is the least ornate of the styles adopted by Dudley with no adornment other than the cartouche and a compass rose and fairly plain calligraphy.

The two storey structure is made of brick with buttresses on the North face either side of the archway. Above the centre point of the arch is a carved stone cartouche of a coat of arms. Either side of the carving are two recessed windows that have been filled in with brick. Above these is a recessed window.

It is built of rock–faced sandstone and has three side towers with turrets. The keystone on its horseshoe–shaped archway features a portrait of a bearded man thought to be Rhodes. Its crenellated parapet has a carved cartouche in the centre featuring a wheatsheaf, fleece and fish – the heraldic device of the Leeds and Thirsk Railway.

The Enthroned Madonna and Child (also known as Madonna of Tarquinia) is a painting by the Italian Renaissance painter Filippo Lippi. It is housed in the Galleria Nazionale d'Arte Antica of Palazzo Barberini, Rome. The work, dated "A.D. M. MCCCCXXXVII" (1437) on the cartouche, was commissioned by Giovanni Vitelleschi, Papal military commander and archbishop of Florence.

Pharaoh-King Tutankhamun has a famous representation of the Nine Bows: the nine foreign enemies. The tomb was closed with a knotted rope, and the rope impressed with a clay seal. The seal contains an impression with Anubis, reclining as a jackal, at the top list of the Nine foreign rebels, in a long, vertical cartouche-image.

The proscenium arch is almost square with a central cartouche containing a female mask. In the ceiling is a round saucer dome with four relief plaster leaf scrolls and four smaller swags dividing the dome. The whole is surrounded by a moulded cornice. In the main part, above the stalls, there is an octagonal raised cornice.

Iaat ( also transliterated as Ya'ad, Yaad, Yaat, or Iaad) is a town and municipality located in the Beqaa Valley of Lebanon, famed for its Corinthian column: this is a single column of unknown date (but probably dated from Roman times), approximately half way between Baalbek and Qasr el Banat, with a cartouche on the 6th drum but no inscription.

The building is a three storied, brick built and cement rendered former hotel in the Victorian Italianate style.Clive Lucas Stapleton and Partners Pty Ltd, 1999. It has an unusual garland decoration below the parapet and a large cartouche (oval scrolled plaque) on the first floor splayed corner. The building was extensively altered by Tooth & Co.; in 1928.

Fragment with cartouche of Akhenaten, which is followed by epithet Great in his Lifespan and the title of Nefertiti Great King's Wife. Reign of Akhenaten. From Amarna, Egypt. The Petrie Museum of Egyptian Archaeology, London Pre-2012 Egyptological theories thought that Nefertiti vanished from the historical record around Year 12 of Akhenaten's reign, with no word of her thereafter.

The rear elevations are composed mostly of brick, as was the now-demolished south wing, and contain arched and rectangular window openings. The east elevation, now mostly concealed, contained cornices above the 16th and 20th floors. The south wing was topped by a decorative cartouche similar to those on the Exchange Place and Broad Street elevations.

These graves were formerly covered with stone slabs. There were also several lintels, decorated with the rectangular cartouche, on either side of which were triangles, and in the middle a cross. There are four mosques, built with stones and columns belonging to a Christian church. There is also a square tower, measuring 7 paces on each side.

In the late 1940s, Elmer and Loraine left the ranch and moved into the town of Salmon. The ranch is still owned by the Keith family. During World War II, Keith served as an inspector at the Ogden, Utah, Arsenal. The rifles that he inspected were cartouche stamped with the initials "OGEK" in a rectangular box, on the buttstock.

In the centre, there is a baptismal scene with naked figures. The highly coloured and gilded finish has been restored. The lattice choir screen (1650) consists of nine panels decorated with flowers, herms and symbols of the virtues. The pedestal bears the naked figures of Adam and Eve while the upper cartouche presents Christ bearing the globe.

It appeared again on the art market in 2015. Amenemhatankh is a basilophorous name, meaning "(king) Amenemhat lives": "Amenemhat" is enclosed in a cartouche, which is a royal prerogative. From that, it has been deduced that Amenemhatankh must be dated to no earlier than the 12th Dynasty, because the earliest pharaohs named Amenemhat are indeed members of that dynasty.

A cartouche indicates that the Egyptian hieroglyphs enclosed are a royal name. Names of 2002 Bali bombings victims in Indonesia A name is a term used for identification. They can identify a class or category of things, or a single thing, either uniquely, or within a given context. The entity identified by a name is called its referent.

In 1780 a new type of cartouche of black leather in a strap of chamois. The same applied in 1795 to the sabretache. The Light Dragoons of the Life Guards had already in 1786 got a pale blue sabretache with the small national coat of arms. The arms consisted of sabre for troopers, m/1808 och m/1814.

An example of a collaborative garland painting made by Jan van Kessel and David Teniers the Younger is the composition The soap bubbles (c. 1660-1670, Louvre). In this work Jan van Kessel painted a decorative garland representing the four elements around a cartouche showing a young man blowing soap bubbles, which symbolizes vanity, i.e. the transience of life.

Canopic jar fragments mentioning Prince Menkheperre, a son of Tuthmosis III and Merytre Hatshepsut, were found. A King's Great Wife Nebetnehat from the mid-18th Dynasty is attested because her name was enclosed in a cartouche on canopic fragments. Canopic jar fragments with the name of the King's Daughter Ti from the mid-18th Dynasty were found as well.

Regardless, in the immediate post-war period it suffered severe damage by the Clearance Office of the . The structure was looted for valuable construction material, including its heating boiler. Particularly damaging was the dismantling the iron roof structure, when the four baroque sandstone sculptures, including balustrade and the cartouche of the middle avant-corps, were toppled and destroyed.

Ranum, Portraits, pp. 426ff In a cartouche beneath her portrait by Mignard, above, a solitary tree stands in a forest of stumps, to indicate her position as last survivor. A Latin motto makes the parallel explicit: Succisas dat conjectare superstes, "The survivor bears witness to the fallen." After these two closely spaced deaths, Marie turned to devotion.

Example hieroglyph, Egyptian King list cartouche. The ancient Egyptian Leopard head hieroglyph, Gardiner sign listed no. F9 is a portrayal of the head of a leopard; it is in the Gardiner subset for "parts of mammals". In the Egyptian language, the Leopard head hieroglyph is used as a determinative or abbreviation for words relating to 'strength'.

The arches around the two doors giving access to the church are in turn richly decorated with garlands of thistles ("chardon") and grapes and a series of statuettes in niches, these depicting Saint Yves, Saint Peter holding a book and a key, Saint Salomon the Breton king wearing armour, holding a sword and the royal crown, Saint Miliau carrying his head in his hands, Saint Thivisiau, a bishop, Saint Côme holding a vase containing medications, Saint Damien (Côme and Damien were brothers and both doctors martyred under Diocletian), and another bishop giving a blessing. On the left side angels hold a cartouche reading "ANNO.DOMINI.1554" and on the right the cartouche reads "LAN.MIL.VCC.L1111.FVST.FONDE.CESTE.PORTAL.ET.ESTOIENT.LORS.FABRIQVES.Y.MART(I)N.J.ABGRALL". Above the doors a tympanun depicts angels holding phylacteries on either side of a statue of Jesus Christ.

On the left cartouche is the AVE monogram, with the inscription ORA PRO NOBIS, while the right cartouche, with a carved open book, has the inscription QUABRITO PRIMUM REGNUM DEI. Over the windows on the second register of each bell tower are the insciprtions 21-IX-1895 (on the left) and 4-VI-1911 (on the right). The interior of the Church show the main altar and one of the six lateral retables Sensibly recessed from the main facade, the three-story towers are separated by cornices and friezes, with the two inferior floors occupied by rectangular windows, and the third register occupied by the belfry, with Roman Arch and flanked by pilasters. The lateral facade of the bell towers have narrower arches, while the posterior facades include three narrower arches.

The fountain is at the end of the calçada das Virtudes in the north, a grandioso support wall for the pedestrian Passeio das Virtudes, in the south and west, are the terraced estates that belong to the majorat manors and spring of Calçada das Virtudes. It consists of a central, high backrest with two pilasters supporting a cornice and frontispiece interrupted by royal coat of arms. Between the fluted pilasters, is a lower cartouche with inscription, while the upper cartouche consists of two castles in high relief, one on either side of an edicule (where at one time there would have existed an image of the Virgin, in her invocation as Senhora dos Virtudes). This combination of imagery taken together represents the coat-of-arms of the city of Oporto.

The Antwerp painter Erasmus Quellinus II was one of his more frequent collaborators on his garland paintings. An example is their collaborative Virgin and Child with St Joseph in a garland of flowers (Christie's online auction of 1-20 October 2020 lot 54). In many works, his collaborators on these works cannot be identified with certainty and are described variously as 'follower of Jan Boeckhorst' as in the Cartouche with a personification of America, surrounded by flowers (Christie's London auction of 26 April 2006 lot 206) or 'circle of Cornelis Schut as in the Mystic marriage of Saint Catherine, surrounded by an oval garland of flowers (Christie's London auction of 3 December 1997 lot 197).Jan Pieter Brueghel and follower of Jan Boeckhorst, Cartouche with a personification of America, surrounded by flowers, ca.

The (frontal) part of the pedestal facing west displays a cartouche reading ) ("To Maria Christina of Bourbon. A recognised Spain"), while the part of the pedestal behind the queen's back features another cartouche reading "1893". The flanks of the pedestal feature two reliefs illustrating the 1839 Embrace of Vergara and Maria Christina signing the 1832 decree of amnesty (a document in favour of the political exiles who had fled from the absolutist crackdown of her husband King Ferdinand VII, in her role as governing queen during the illness of Ferdinand VII, preceding the latter's final demise in 1833). The monument is topped by the bronze statue representing a full body figure of Maria Christina, holding the Royal Statute with her right hand while grabbing her mantle with the left hand.

Not all of van Son's collaborators on his garland paintings have been identified but they are known to have included Erasmus Quellinus II, Pieter Boel, Frans Wouters and Jan den Duyts.Joris van Son and attributed to Peeter Boel, Still life of fruit and flowers with parrots, monkey and tortoise at the Netherlands Institute for Art History Joris van Son and Frans Wouters, Three Putti with Vanitas Symbols within a Decorated Cartouche at the Netherlands Institute for Art History His collaborators painted the figure or figures inside the cartouche while van Son painted the fruit and flower garland. The Garland of Fruit and Flowers with the Death of Adonis is an example of a collaboration with Erasmus Quellinus. The central images in his garland paintings were devotional as well as secular.

Cartouche was a Belgian Eurodance group whose biggest dance hit from 1991 was "Feel the Groove", which peaked at number 13 in 1991 on the French Singles Chart."Feel the Groove", French Singles Chart Lescharts.com (Retrieved January 26, 2008) The members consisted of Myrelle Tholen and Jean-Paul Visser. The group only released one album, House Music All Night Long in 1991.

It was built in 1931–32, and is a two-story, five bay square, brick and concrete Georgian Revival style building. The building features an elaborately-designed entry with a large broken pediment and a cartouche bearing a caduceus. The building housed a library, dining room, auditorium and offices. The Academy moved from that building in the mid-2000s to rented office space.

Allen, James Peter, Middle Egyptian: An Introduction to the Language and Culture of Hieroglyphs, Cambridge University Press 2000, p. 65. At times amulets took the form of a cartouche displaying the name of a king and placed in tombs. Archaeologists often find such items important for dating a tomb and its contents.Compare Thomas Eric Peet, William Leonard Stevenson Loat, The Cemeteries of Abydos.

Vivienne Callender asserted that since the name of Khentkaus did not appear in a cartouche she never ruled Egypt. Instead, Callender preferred to read the mwt nswt bity nswt bity title as, the Mother of Two Kings of Upper and Lower Egypt. She thought Khentkaus had to be a daughter of Menkaure and the wife of either Shepseskaf or Thampthis.

Sirens form the clasps at the end of the necklace. There are five rings that are a part of this set. One is a thin gold band with a cartouche of a sphinx and a lion, dated to about 530 BCE. Another ring has a much thicker gold band, and unlike the rest of the set, taken from the male's burial chamber.

On the right hand side we see the King burning spices in a hawk headed censing-spoon, while the queen presents a bouquet of lotus flowers. Both wear an elaborate Atef-crown. Akhenaten wears a triple Atef crown flanked by uraei and topped with falcons wearing a sundisk and accompanying a double cartouche. Nefertiti wears a double Atef-crown flanked by two uraei.

Cartouche name Teti from the Abydos king list. The duration of Sekhemkhet's reign is believed to have been six to seven years. The royal Turin Canon attributes six years of reign to Sekhemkhet,Alan H. Gardiner: The Royal Canon of Turin, Griffith Institute, Oxford 1997, , Vol. 2. a figure also proposed by Myriam Wissa based on the unfinished state of Sekhemkhet's pyramid.

Granite cone uncovered on Elephantine and inscribed with Huni's cartouche Huni is not a well attested pharaoh; most of the attestations only point indirectly to him. There are only two contemporary objects with his name. The first one is a conical stele made of red granite, discovered in 1909 on the island of Elephantine. The object is long, thick and broad.

In 1998, he starred as "Fernand de Morcerf" opposite Gerard Depardieu in the mini-series Le Comte de Monte Cristo. In his thirties during the shooting of Cartouche, he discovered his passion for horses and equestrianism. He was a horse breeder since then and owned Le Haras de Villequoy. His passion led him to become a horse consultant for French television in 2004.

The latter Tentamun is mentioned in the Story of Wenamun.Dodson & Hilton, p.194 She is mentioned before her husband's ascendence to the throne on a chalice found in Tanis, on a door lintel and on a relief in the Khonsu temple in the Karnak temple complex. Even here she is mentioned as a queen, with her name written in a cartouche.

Baufra appears in the Papyrus Westcar as a literary figure. His name is given here as a private name without royal cartouche. In the story, the sons of Khufu entertain their father by telling him stories about magicians and miracles which were witnessed under Khufu´s ancestors Djoser, Nebka and Sneferu. Baufra appears as the narrator of the third story.

Hebrew Union College Press, Michigan 2001, , page 58 & 59. The Famine Stela is one of only three known inscriptions that connect the cartouche name Djeser (“lordly”) with the serekh name Netjerikhet (“divine body”) of king Djoser in one word. Therefore, it provides useful evidence for Egyptologists and historians who are involved in reconstructing the royal chronology of the Old Kingdom of Egypt.

The prenomen and nomen were contained in a cartouche. The prenomen often followed the King of Upper and Lower Egypt (nsw bity) or Lord of the Two Lands (nebtawy) title. The prenomen often incorporated the name of Re. The nomen often followed the title Son of Re (sa-ra) or the title Lord of Appearances (neb-kha).Dodson, Aidan and Hilton, Dyan.

The correct duration of Khaba's reign is also unknown. Should he be identical to the Ramesside cartouche names Sedjes (meaning "omitted") and Hudjefa (meaning "erased"), he might have ruled for six years, as the Turin Canon suggests. If Khaba was identical to king Huni, he might have ruled for 24 years.Wolfgang Helck: Untersuchungen zur Thinitenzeit (= Ägyptologische Abhandlungen (ÄA), vol. 45).

Three arches form an arcade. The central keystone in the arch over the entrance is adorned with a scale of justice and a key motif contained within a cartouche (decorative oval). Beneath the roofline, the frieze contains three recurring motifs. A bull's skull surrounded by oak leaves and banderols is followed by a ram's head festooned with fruit and nuts.

The front facade has four pairs of Ionic pilasters separating the entrance and two sets of windows. A frieze reading "UNITED STATES POST OFFICE" and a dentillated cornice run above the pilasters. A balustrade runs along the front edge of the roof; a large scrolled cartouche marks the center of the balustrade. In 1966, the post office was converted to a federal building.

In the year 1597, Cardinal Andrzej Batory rebuilt the castle. The next renovation came after flood damage caused by the invading Swedes, was undertaken by Łęczycka Starosta Jan Szczawiński in 1655. His coat of arms "Prawdzic" is still visible on the cartouche. In the 18th century the castle was owned by "Gajewskich" who lowered its residential building by one floor.

Cartouche still life of flowers around a bacchanal of putti Jacob Caproens or Jac. Caproens (fl 1675 – 1725, in Antwerp) was a still life painter active in Antwerp in the late 17th and early 18th centuries. Only a handful of works by the artist have been identified to date. Caproens painted flower and fruit still lifes, garland paintings and banquet still lifes.

The prenomen, cartouche name or throne name ( "of the Sedge and Bee") of ancient Egypt was one of the five royal names of pharaohs. The first pharaoh to have a Sedge and Bee name was Den during the First Dynasty. Most Egyptologists believe that the prenomen was a regnal name. Others think that it originally represented the birth name of the rulers.

In the east wall of the intermediate landing is a fountain. The stairs diverge at the intermediate landing, with nine more steps on the north and south leading to the second floor landing. The stringer, risers, and treads are all made of marble. The banister is of cast iron in a rinceau and cartouche pattern, with a handrail encased in red velvet.

Above the inscription was carved the cartouche of Osorkon II and the following text: "A Son, furbishing the one who created (i.e., begot) him."English translation of Jansen-Winkeln's VA 3 (1987) study of Takelot's tomb by 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.

The monument includes a square obelisk constructed of Portland stone, a limestone quarried on the Isle of Portland in the English Channel. It is positioned on a base with three steps. The memorial features three bronze figures adjacent to the lower portion of the obelisk. On the fourth side of the obelisk, the back of the monument, there is a bronze cartouche.

Beyond this in the south bay, are two sash windows. In the upper storey are nine sash windows; over the pair of windows in the south bay is a cartouche. Over the south bay is a plain gable with coping and a short finial. In the roof facing Foregate Street and in that facing Bath Street is a lucarne with a finial.

342 fig. 226Jean Yoyotte: Le Soukhos de la Maréotide et d'autres cultes régionaux du Dieu-Crocodile d'après les cylindres du Moyen Empire, Bulletin de l'Institut Français d'Archeologie Orientale (BIFAO) 56, 1957, p. 81-95 available online see p. 88 2.cc An offering table bearing Amenemhat VI's cartouche has been discovered in Karnak and is now in the Egyptian Museum, CG 23040.

This ruler seems to have made little use of the cartouche – which was a pharaonic prerogative – since it was used only for the throne name, Nubwoserre, though not always. His personal name never appears inside a cartouche, and is simply reported as "the son of Ra, Ya'ammu". Similar to his suggested predecessor Yakbim Sekhaenre, there is no direct evidence that Ya'ammu's throne name was Nubwoserre: the association is based on stylistic features of the seals and was proposed by William Ayres Ward and later elaborated by Ryholt; Daphna Ben-Tor disputed this identification, pointing out that the seals of the many rulers living during this period are too similar to make such correlations on the basis of mere design features. The Turin King List can not help with this issue since the ruler does not appear on it, likely due to a lacuna.

One shape alone is normally reserved for a specific purpose: the lozenge, a diamond-shaped escutcheon, was traditionally used to display the arms of women, on the grounds that shields, as implements of war, were inappropriate for this purpose. This distinction was not always strictly adhered to, and a general exception was usually made for sovereigns, whose arms represented an entire nation. Sometimes an oval shield, or cartouche, was substituted for the lozenge; this shape was also widely used for the arms of clerics in French, Spanish, and Italian heraldry, although it was never reserved for their use. In recent years, the use of the cartouche for women's arms has become general in Scottish heraldry, while both Scottish and Irish authorities have permitted a traditional shield under certain circumstances, and in Canadian heraldry the shield is now regularly granted.

Stone vessel inscriptions mention kings such as Nubnefer, Weneg-Nebty, Horus Ba, Horus "Bird" and Za, but each of these kings is mentioned only a few times, which suggests to Egyptologists that each of these kings did not rule very long. King Sneferka might be identical with king Qa'a or an ephemeral successor of his. King Weneg-Nebty might be identical with the Ramesside cartouche name Wadjenes.

The Baumbach stands with four bays on the west side and six bays on the south side. The first floor has large storefront windows while the second, third, and fourth floor windows are double-hung. The fifth floor features round arched windows which are separated with carved lions' heads on a Celtic cross medallion. Carved crowns in a cartouche decorate the second floor corners.

They explicitly mention his third, fourth, sixth and eighth years on the throne. Unas also left a rock inscription on the island of Elephantine, next to the First Cataract of the Nile in Nubia. In addition, several alabaster vases bearing Unas' cartouche are known. A complete vessel and additional fragments originating from Byblos on the Levantine coast are now in the National Museum of Beirut.

The entrance is recessed within a round-arch opening, topped by a broken pediment and cartouche. The bays of the projecting section are divided by full-height Corinthian engaged columns, with Corinthian pilasters near the coroners. These support a multi-layer entablature, above which a dentillated cornice encircles the building below its truncated hip roof. Differing window sizes and shapes give variety to the structure.

Harrassowitz, Wiesbaden 1987, , p.109. In the 19th century it was thought by Egyptologists and historians to be the name of a king, because the scribes had placed the word hudjefa inside a royal cartouche. But as knowledge about Ancient Egyptian phrasing and grammars advanced, scholars realized its true meaning. The scribes used the word hudjefa as a pseudonym replacing an illegible name of a king.

The entrance portal of the building is turned towards the Adamič and Lunder Embankment. Above it, there is a balcony with a wrought iron fence, and above the balcony, there is a coat of arms of the city of Ljubljana in a cartouche, encased with a sculpture of a genius on each side. The genii are work by the sculptor Alojzij Repič (1866–1941).

Thomas, p. 386 This has not happened, and the plaster ceiling remains. However, in 2003, partitions between the rooms were knocked through to convert them into teaching rooms and the renovations enabled the upper part of the hall's hammerbeam roof to be seen from inside the rooms. Pevsner described the 1741 cartouche on the north wall, which contains the college crest, as "large [and] rich".

Inner courtyard Hoghton Tower is constructed in sandstone, with stone slate roofs. It has a double courtyard plan, the outer courtyard being entered on the west side through a large gatehouse. The gatehouse is embattled and in two storeys, with a central tower rising by more than one additional storey. Above its archway is a 16th-century cartouche containing a carving of Samson and the Lion.

Sekhemkhet's wife may have been Djeseretnebti, but this name appears without any queen's title, and Egyptologists dispute the true meaning and reading of this name.Wolfgang Helck: Untersuchungen zur Thinitenzeit. Harrassowitz, Wiesbaden 1987, , pp 108, 117. The name has alternatively been read as Djeser-Ti and identified with the cartouche-name Djeser-Teti presented in the Saqqara King List as the direct successor of Djoser.

Its shape resembles a typical Benben stele, as known from mastaba tombs of early dynastic kings. At the front, the cone presents a rectangular niche with an incarved inscription inside. The inscription mentions a royal palace named Palace of the headband of Huni and writes Huni's name above inside a royal cartouche. The decorated niche is interpreted by scholars as a so-called "apparition window".

The Golden One is a combination of two stories. The first story deals with the search for an unknown tomb, one where some artifacts have started to appear on the black market. The second story follows Ramses Emerson as he is sent on another mission behind Turkish lines. After arriving in Egypt in January, 1917, Amelia acquires a magnificent cosmetic jar with the cartouche removed.

At the top within an elaborate gilded frame within a broken pediment is a lozenge showing the arms of Strode: Argent, a chevron between three conies courant sable.Vivian, p.718 On the arch above her is shown on the dexter the arms of Chichester and on the sinister the arms of Strode. Below underneath an inscribed tablet is a cartouche bearing the arms of Chichester impaling Strode.

Pharaoh Rudamun of the 23rd Dynasty, 757-54 BC has his name in two cartouches showing the use of the bowstring hieroglyph, (only one uses the bowstring). A white rock crystal vase has two cartouches above the hieroglyphic symbol for union symbol (hieroglyph). One cartouche uses the bowstring hieroglyph and states his name: "A-mn-Rudj–A-mn- Mer", and is approximately: "Amun's Strength—Amun's Beloved".

The lion's head of Saint Mark appears on the cartouche at the center of the arch. In spite of its traditional construction in the salt-white Istrian stone used everywhere in Venice and the classic vase profiles of the balustrade, this bridge, called ', the "doll's bridge" in Venetian, for its diminutive size,Piccio, Dizionario veneziano-italiano, s.v. "piavola". was built at the late date of 1840.

The central entrance doors contain wrought-iron panels in curved Art Nouveau lines. Each opening is articulated with intricate, decorative plaster surrounds and flaked with plaster festoon mouldings. In addition, the central entry is crowned with a plaster cartouche displaying the initials of the first owners, PF (Providencia Ubides and Federico Font). A heavily ornamented three-bay facade is shaded by two gazebo- like front terraces.

The four sides of the monument display inscriptions respectively reading ("Patriotism"), ("Freedom"), ("Loyalty"), ("Eloquence"). A marble cartouche put on the front side reads ("Cádiz to Moret"). The back side inscription in the pedestal reads ("this monument was erected by popular subscription initiated by the Most Excellent Ayuntamiento following a proposal by its Mayor–President, Most Excellent and Most Illustrious Don Cayetano del Toro y Cuartellers. Year 1906").

There are two cherubs over the panels, holding the cartouche on which the king's epitaph is displayed. The inscription translates to: There is a recumbent statue of Henry II on top of the tomb. It is made from polychromed alabaster. It depicts the king wearing his royal robes, with his sword in his left hand and his girdle decorated with the lions of Castile.

The cartouche of pharaoh Woseribre Senebkay, inside the king’s burial tomb. Senebkay's tomb (CS9) was discovered in 2014 by Josef W. Wegner of the University of Pennsylvania and a team of Egyptian archaeologists in the southern part of Abydos, Egypt. The four-chamber tomb has a decorated limestone burial chamber. Most blocks of the chamber were reused from older structures, such as the stela of Idudju-iker.

Front door of a house with typical door furniture: a letter box, door knocker, a latch and two locks A door knocker with puttis holding a cartouche, in Paris Door furniture or hardware refers to any of the items that are attached to a door or a drawer to enhance its functionality or appearance. This includes items such as hinges, handles, door stops, etc.

Jones, The temple of Apis in Memphis, pp. 145–147. Ankhefenmut kneels before the royal cartouche of Siamun, on a lintel from the Temple of Amun in Memphis. The majority of known Apis statues come from the burial chambers known as Serapeum, located to the northwest at Saqqara. The most ancient burials found at this site date back to the reign of Amenhotep III.

He was buried in a TT106, located in the Sheikh Abd el-Qurna, opposite Luxor, in Egypt. The exterior facade of the tomb includes the cartouche of Ramesses II. Scenes include Paser and his mother Merytre as mummies and a canopic shrine with its jars being libated by his brother Titia. Several pillars in the hall are decorated. Paser is shown before Amenhotep I and Ahmose Nefertari.

The Virgin and Child are portrayed as a bust in the foreground, above a typical landscape with towers, castles and a fluvial inlet with a small boat. The bright sky features a series of red cherubims which give their name to the picture. Also typical of Bellini is the parapet in the lower part, although this time he did not ad the cartouche with the signature.

Its location is currently unknown, but finds from the tomb are in museums and include fragments of burial equipment for several members of the royal family.Dodson A. and Hilton D. The Complete Royal Families of Ancient Egypt, London 2004 The items include a canopic jar fragment of the King's Wife Henut. She is thought to have lived mid-18th Dynasty. Her name was enclosed in a cartouche.

The interior and exterior walls are white marble. The main entrance is in a recessed portico and framed by two Ionic columns tall and weighing . Above the entry is a cartouche bearing the Michigan Coat of Arms flanked by two figures representing Industry and Commerce. In 1907, the State Savings Bank merged with the People's Savings Bank to form the People's State Bank, requiring a larger building.

Macon Library stands two stories tall and is slightly raised above street level. It occupies the majority of the lot upon which it is situated. The building was designed in the Classical Revival architectural style and consists of five bays. While the library was mainly built with red brick, its front entrance is highlighted by a stone border adorned above the front door with a cartouche.

His cartographical output was large and varied. His best- known maps are those of South Wales, North Wales and the English Counties first published in a new edition of Camden's "Britannia" in 1695, and subsequently reissued in 1722, 1753 and 1772. These maps were based on new information from gentlemen of each county, and were newly engraved. Each had a decorated cartouche, and showed numerous place names.

Law Society of Scotland 1955 SLT (Lyon Ct) 2. Any device other than letters or numerals, displayed on a shield, lozenge, cartouche or rectangular banner or set upon a wreath, crest, coronet or chapeau amounts to an armorial bearing the display of which is subject to the provisions of the Lyon King of Arms Act 1672.Stair Memorial Encyclopaedia, Vol 11, Heraldry, para 1613.

The ceremonial hall – the Warriors' hall has side-mounted windows, with rhythmically arranged columns between them, with Corinthian capitols bearing the architraved cornice. Above the cornice there are warriors' busts, naked and in armour. The ceiling is decorated with medallions with floral elements, similar to the ceiling in vestibule. Above the entrance door the cartouche with military insignations bearing two female figures was set up.

Swags of fruit and flowers surrounding a cartouche with a sulphur-crested cockatoo Jan van Kessel or the other Jan van Kessel (c. 1620, Antwerp - in or after 1661, Amsterdam (?)) was a Flemish painter of still lifes of fruits, hunting pieces and flowers. After training in Antwerp he moved to the Dutch Republic where he is recorded as operating a studio in Amsterdam.Jan van Kessel (ca.

Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image, Ashgate Publishing, Ltd., 2012David Freedberg, "The Origins and Rise of the Flemish Madonnas in Flower Garlands, Decoration and Devotion", Münchener Jahrbuch der bildenden Kunst, xxxii, 1981, pp. 115–150. Daniel Seghers developed the illusionistic aspects of the genre by replacing the cartouche portraits with paintings of bas reliefs and sculptures.

During the period a cartouche of black leather with a strap with braid for officers and of black leather for troopers over the left shoulder and a sabretache m/1835 of black leather (different types) were worn. Sabre m/1793 for troopers of the hussar regiments and sabre m/1800 for officers of the hussar regiments, sabre m/1807 for troopers (cavalry), sword m/1810 for officers (cavalry) sabre m/1814 for all personnel (light cavalry), sword m/1820 for officers (cavalry) and sabre m/1842 for troopers (cavalry). As well as in 1822 a sabre for officers of the hussar regiments except the Life Guards of Horse and the Life Regiment Hussar Corps. In 1822 officers of the Småland Hussar Regiment (Smålands husarregemente) were issued with gold fittings on the cartouche strap and the same year officers of the Crown Prince's Hussar Regiment got a new sabre.

A cartouche above the central altar shows Saint "Anthony with Child". On the uppermost part of the altar, on an open gable, is Saint Peter with a key and a book. Originally, the chapel's ornamentation included images of Mary Magdalene, Saint Roch, Saint Sebastian, the holy bishop Nicholas and another statue of Roch. Saint Roch's dog was even depicted in the middle of the ceiling in a half-relief.

Bolechovice Castle () is a castle in the Czech Republic, considered a representative example of a rococo Central Bohemian estate set on a medieval foundation. The castle is set in the middle of a former farmstead. A two-story rococo building, the front wing has a central pediment and the buttresses to the main facade. Above the entrance portal is a cartouche with the coat of arms of Thomas Popovsky Šarfenbach.

Two more oriel windows are in the outermost bays. The bays are defined by brick pilasters, and the outermost oriel windows have open pediments above and richly decorated brackets below. The Ionic- columned stepped porch spans the centre three bays and leads to a recessed entrance with three sets of doors. Supported by the columns is a parapet with a dentil cornice and a centrally placed cartouche with the initials .

Jansen-Winkeln further shows that Harsiese A's son, [...du], was only an ordinary Priest of Amun. Harsiese B is first explicitly attested as High Priest of Amun late under Osorkon II's reign on Statue CGC 42225, which bears this king's cartouche. He likely assumed the office at Thebes when the current High Priest, Takelot F, proclaimed himself as king Takelot II in the final 3 years of Osorkon II's reign.

He was a retired gangster in A Man Named Rocca (1962), then had a massive hit with the swashbuckler Cartouche (1962), directed by Philippe de Broca. Also popular was A Monkey in Winter (1962), a comedy where he and Jean Gabin played alcoholics. He had a cameo in the Italian comedy The Shortest Day (1962). François Truffaut wanted Belmondo to play the lead in an adaptation of Fahrenheit 451.

The painting shows the Madonna holding Jesus who stands on a parapet in the foreground. Below is a cartouche with the artist's signature, IOANNES BELLINVS. The blessing Child has similar features to that in the San Giobbe Altarpiece, dating to the same decade or a few years later. His icon-like staring appearance recalls the Byzantine painting, which was one of the roots of the Venetian painting school.

Mentuhotep's cosmetic box bears Djehuti's nomen, prenomen and cartouche together with funerary formulae and an inscription revealing that the box was a gift from the king. It has been suggested that the unattributed Southern South Saqqara pyramid may have been built for Djehuti. This hypothesis is based on a fragmentary inscription found within the pyramid and reading "Weserkha...", a possible reference to Weserkhau i.e. Djehuti's Golden Horus name.

The auditorium, which is by , has a barrel roof with an elliptical proscenium arch with ornamental cartouche. Orchestra stalls and the balcony provided the majority of the seating and there were two boxes. It was a venue for various ballet and theatrical touring companies and was the first place in the town at which a sound film was shown. In 1930 a Western Electric sound system was installed.

Horus serekh, heavily embellished form In Egyptian hieroglyphs, a serekh is a rectangular enclosure representing the niched or gated façade of a palace surmounted by (usually) the Horus falcon, indicating that the text enclosed is a royal name. The serekh was the earliest convention used to set apart the royal name in ancient Egyptian iconography, predating the later and better known cartouche by four dynasties and five to seven hundred years.

Cartouche of Nynetjer in the Abydos King List (no. 11). Nynetjer is one of the best archaeologically attested kings of 2nd dynasty. His name appears in inscriptions on stone vessels and clay sealings in large numbers from his tomb at Sakkara. A large number of artifacts bearing his name were also found in the tomb of king Peribsen at Abydos and in the galleries beneath the step pyramid of king Djoser.

The print has no visible date, censor or artist seals. The only distinctive mark is the toshidama-in cartouche encasing Sadamasu's signature. A symbol of good luck, this was customarily used by artists of the Utagawa school beginning with Toyokuni I in around 1809. It was Kunisada (Toyokuni III), however, who really claimed the symbol for his school, elongating its round shape and framing the red infill with yellow.

The central level of this elevation, equivalent to three stories in height, features a triple-arched blind arcade set within the three central bays. Each individual archway: is punctuated by a pedimented, structural opening with a large ornamental cartouche above. These central bays are each framed by imposing, pseudo-Corinthian pilasters and half pilasters, full three stories, in height. The blind arcade is solidly flanked by sparsely-decorated outermost bays.

She is one of the first ancient Egyptian queens whose name was written within a cartouche. This approach to writing a name was previously only used for kings' names and some kings' daughters holding special positions. The name of Ineni's husband is not known with any certainty. It is thought that it was king Merneferre Ay, as her scarabs are similar in style to that of this king.

The chapel also includes an English Baroque cartouche to Anthony Hungerford (died 1703) on the west wall. Black stone plaques on the floor record other members of the family. Commonwealth War Graves section of St Mary's parish churchyard The building was restored under the direction of the architect E.G. Bruton in 1866. During the restoration a number of late 13th century wall paintings were discovered inside the church.

The Signet's baroque cartouche contrasts with its neo-Federal façade. The Signet celebrates most of the arts, including music, the visual arts, and theater. Members are active in most undergraduate publications. Many undergraduate Signet members are in other Harvard College artistic and literary organizations, including the Harvard Advocate, the Hasty Pudding Theatricals, the Harvard Crimson, the Harvard Lampoon, the Harvard Radcliffe Orchestra, and the Harvard Radcliffe Dramatic Club.

The Golden falcon (bik-nbw) name is not well understood. The prenomen and nomen were introduced later and are traditionally enclosed in a cartouche. By the Middle Kingdom, the official titulary of the ruler consisted of five names; Horus, Nebty, Golden Horus, nomen, and prenomenIan Shaw, The Oxford History of Ancient Egypt, Oxford University Press 2000, p. 477 for some rulers, only one or two of them may be known.

In the lower stage is a small west window, and in the upper stage are two-light bell openings. Only the south wall of the nave remains. This has a central protruding doorway flanked by Ionic pilasters, and round-arched windows without tracery or glass. The chancel has a central south door with a cartouche above it, on each side of which are two-light round-headed windows.

The first story has simple rectangular fenestration; the windows of the second through seventh stories have flat-arched lintels with triple keystones (some have end voussoirs), except for the second-story corner windows above the entrance porticoes which have molded surrounds with cartouche keystones. The top story has round-arched windows with keystones and is capped by a copper cornice with egg-and-dart and patterned motif moldings.

The Plaza Theater at night. No expense was spared in creating the elaborate building. At the point where the entrance wing of the Plaza adjoined the auditorium, a domed tower rises in three tiers, projecting above the roof line. Other exterior references to the Spanish mission-style included modest brick delineations at the building's corners, simple cartouche motifs and stepped and curved parapets with tile accents along the roof line.

The monument was funded by popular subscription, and the design was awarded to Mariano Benlliure. The standing bronze statue of Antonio Maura, depicted in oratorical attitude, tops off the stone pedestal. Placed below Maura, an allegory of Truth made of white marble completes the ensemble. Truth is depicted pointing at a cartouche reading ("Antonio Maura equaled thought with [his] life"), adapted from a verse from Epístola moral a Fabio.

All the main windows of this face are double transomed. East wing: south face, showing centrepiece The east face of the eastern wing has four bays with canted bay windows, shaped end gables and a central cartouche. In the centre of the northern (garden) face is a large bow window, originally Jacobean, which illuminates the chapel; it has stone panels decorated with cartouches below arched stained glass lights.Pevsner & Hubbard, p.

Amelia and Emerson are in Cairo to greet the 20th century, when a mysterious Mr. Shelmadine presents them with a gold ring from an unknown tomb bearing the cartouche of Queen Tetisheri. The Emersons must defend against criminals and tomb robbers. This time, Amelia is up against two unknown parties, one to save, one to avenge. This book also introduces David Todros, Ramses's lifelong friend and partner in adventures.

The departure from Renaissance classicism has its own ways in each country. But a general feature is that everywhere the starting point is the ornamental elements introduced by the Renaissance. The classical repertoire is crowded, dense, overlapping, loaded, in order to provoke shock effects. New motifs introduced by Baroque are: the cartouche, trophies and weapons, baskets of fruit or flowers, and others, made in marquetry, stucco, or carved.

Site of hotel It is still listed on the National Register despite having been demolished, according to the National Register Information System. It was in plan. The building was enriched by terra cotta ornamentation designed by George Julian Zolnay, including a bacchanalian themed entrance-way "replete with horned and bearded masks and draped grape leaf garlands enframing a cartouche with the Marquette Hotel monogram." With plans and five photos from 1985.

Similar to other courts in Malta, the balcony was purposely used to read to the present public the major verdicts and newly introduced bandi. Heraldic crescents from Pinto's coat of arms decorate the main portal, and a cartouche with the following inscription is found beneath the balcony. It reads: Side façade facing St. John's Street, with the pillory on the right. Nelson's Hook is also visible behind the railing.

The issue uses a standard design featuring allegorical representations of navigation and commerce. The territory name is imprinted in a rectangular cartouche centered at the bottom of the stamp. In French colonies, it is the first series of territory-specific postal releases. Adding the territory name helped reduce revenue loss incurred when stamps were purchased in colonies with low-value currencies, then sold or used in colonies with high-valued currencies.

The polyptych is signed in the cartouche visible on the step in the central panel. It was commissioned for the convent annexed to the church of Santa Maria extra moenia in Messina, also called San Gregorio, whence its modern name. The panels were originally connected by a carved frame in Neo-Gothic style, which was likely removed from as early as the 16th century. Detail of St. Benedict.

King Weneg-Nebty might be identical with the Ramesside cartouche name Wadjenes. But kings such as "Nubnefer", "Bird" and "Za" remain a mystery. They never appear anywhere else and the number of objects surviving from their lifetimes is very limited. Schlögl, Helck and Peter Kaplony postulate, that Nubnefer, Za and Bird were contemporaries of Peribsen and Sekhemib and ruled over Lower Egypt, whilst the latter two ruled Upper Egypt.

Wolfgang Helck: Untersuchungen zur Thinitenzeit. (Ägyptologische Abhandlungen, Volume 45), Otto Harrassowitz, Wiesbaden 1987, , page 103-106Dietrich Wildung: Die Rolle ägyptischer Könige im Bewusstsein ihrer Nachwelt. Part I (Münchener Ägytologische Studien 17). Deutscher Kunstverlag, München/Berlin 1969, page 45 Egyptologist Peter Munro has written a report about the existence of a mud seal inscription showing the cartouche name Nefer-senedj-Ra, which he thinks to be a version of “Senedj”.

Her brownish obi sash bears a more intricate chrysanthemum pattern, and the title cartouche is of the same colour as the obi. The woman's robe is open, revealing her breasts and wrinkled abdomen. Her hair is disheveled and rolled back over the top of her head, held with one hairpin. She holds three sheets of paper between her lips, which was erotically suggestive in artwork of the time.

The building's name has changed over the years reflecting the official name of the Ministry which occupies it.Palacio de Fomento. Ministerio de Agricultura... It was originally occupied by the Ministerio de Fomento (Ministry of Public Works and Transport). For most of its life the building has been the seat of the Agriculture Ministry, and the words "Ministerio de Agricultura" are prominently displayed in a cartouche on the facade.

The original section of the building was designed generally in the Renaissance Revival style with a symmetrical facade plan of a central projecting pavilion flanked by two recessed sections. Well- placed classical details, such as the dentiled cornice, the elaborate pediments over the two main doors, and the cartouche at the corner pilasters, provide a sense of monumentality to the building. These elaborated main exterior materials were yellow brick.

The street facades are designed in an imposing classical style. Giant Tuscan order colonnades are terminated in solid corners with banded rustication. The columns sit on a raised base, about a metre above the Flinders Street level, and carry a simple entablature surmounted by a more ornamental parapet with a central cartouche and panels of classical balusters. The name of the bank, flanked by circular motifs, is written in the frieze.

Tomb KV42 is an ancient Egyptian tomb located in the Valley of the Kings in Egypt. It was constructed for Hatshepsut-Meryetre, the wife of Thutmose III, but she was not buried in the tomb. It was reused by Sennefer, a mayor of Thebes during the reign of Amenhotep II, and by several members of his family. The tomb has a cartouche-shaped burial chamber, like other early Eighteenth Dynasty tombs.

The east wall at the back shows one frame with scenes from the life of Mary Magdalene and another with scenes from the life of Catherine of Alexandria. Above them both is a continuation of the frieze of prophets and Sibyls, with this section including Habbakuk, the Tiburtine Sibyl, Zephaniah, the Phrygian Sibyl, Daniel, the Persian Sibyl and Moses, each with a still-legible cartouche of their name.

The church has wall monuments to Anthony Rous and Henry Vincent (a praying bust with an open book, in a cartouche with Corinthian small columns), both died 1631; in the left side of the porch is a large lettered tablet dated 1717 recording details of a charitable trust as administered among its mainstay of poor relief for centuries by the parish, until the advent of local government in the United Kingdom.

The mansions, one of Clayton & Black's first commissions for a new building, are Flemish Renaissance Revival in style. The walls are of red brick with large areas of pale ashlar, especially around the windows. The main entrance is on the Rochester Gardens elevation and is next to the former entrance to the bank, which is flanked by Tuscan columns in antis. Above is a pediment with a cartouche.

The globe is turned toward the Indian Ocean, where the Dutch East India Company was then active. Vermeer used an impasto technique to apply pointillé dots, not to indicate light reflected more strongly on certain points but to emphasize the dull ochre cartouche "frame" printed on the globe. Since the globe can be identified, we know the decorative cartouche includes a plea for information for future editions-- reflecting the theme of revelation in the painting. Vermeer's possible model, Anthonie van Leeuwenhoek, painted two decades later by Jan Verkolje The cartographic objects surrounding the man are some of the actual items a geographer would have: the globe, the dividers the man holds, a cross-staff (hung on the center post of the window), used to measure the angle of celestial objects like the sun or stars, and the chart the man is using, which (according to one scholar, James A. Welu) appears to be a nautical chart on vellum.

Frans van Everbroeck, Garland of Flowers Surrounding the Holy Family at Hampel Fine Art Auctions Another example of his production in this genre is A cartouche still life of flowers and fruit around a portrait of a lady dressed as a shepherdess (At Sotheby's on 3 May 2017 in London, lot 138).Frans van Everbroeck, A cartouche still life of flowers and fruit around a portrait of a lady dressed as a shepherdess at Sotheby's Van Everbroeck is also known for his vanitas still lifes, a genre of still lifes which offers a reflection on the meaninglessness of earthly life and the transient nature of all earthly goods and pursuits. An example is the composition Memento Mori (At Van Ham Kunstauktionen on 17 May 2013 in Cologne, lot 478).Frans van Everbroeck, Memento Mori at Van Ham Kunstauktionen This composition contains the typical symbolism of vanitas paintings: a skull, soap bubbles, a candle, an hourglass, a watch and a book (symbolising the futility of mankind's higher aspirations).

Jan Pauwel Gillemans (I) and Thomas Willeboirts Bosschaert, Vruchtenstilleven met bloemenkrans, beker en twee putto's at the Netherlands Institute for Art History An example of Gillemans' work in this genre is the Garland of Flowers Surrounding a Cartouche Containing an Angel's Head and the Holy Sacrament (Victoria and Albert Museum). The garland includes thistles, grains, grapes and other flowers and fruit that allude to the Passion of Christ and to the Sacramental bread and wine of the communion which is depicted in the centre of the composition.Jan Pauwel Gillemans (I) (Attr.), A Garland of Flowers Surrounding a Cartouche Containing an Angel's Head and the Holy Sacrament at the Victoria and Albert Museum Vanitas still life Gillemans also painted vanitas still lifes, a genre of still lifes which offers a reflection on the meaninglessness of earthly life and the transient nature of all earthly goods and pursuits. An example is the composition Vanitas still life (Hermitage Museum).

This composition contains the typical symbols present in vanitas paintings: a skull, a burning candle and an hourglass. The flowers in high bloom and the butterflies also refer to the fleetingness of things.Joris van Son, Allegory on Human Life at the Walters Art MuseumJoris van Son, Memento Mori at the Netherlands Institute for Art History Another garland painting with vanitas motif is the Three Putti with Vanitas Symbols within a Decorated Cartouche (At Lempertz on 15 November 2014, Cologne, Lot 1072) where the typical symbols of vanitas also appear: a skull, soap bubbles and opulently glittering vases which reference the transience of things and, in particular, of earthly wealth.Joris van Son (Attributed), Three Putti with Vanitas Symbols within a Decorated Cartouche at Lempertz A pure vanitas painting is the Vanitas still-life with a skull, a pistol, a lute with broken strings, a flute (At Christie's on 10 December 2004, London lot 59), in which a wide range of vanitas symbols are displayed on a table.

By the end of the New Kingdom, Egypt had entered a long period of political and economic decline. The priests at Thebes grew more powerful, and they effectively administered Upper Egypt, while kings ruling from Tanis controlled Lower Egypt. Some attempt at using the open tombs was made at the start of the Twenty-first Dynasty, with the High Priest of Amun, Pinedjem I, adding his cartouche to KV4.Reeves and Wilkinson (1996), p.

Another decorative feature was a cartouche which commemorated the Royal Family members present at the opening. The south-facing secondary façade has conventional gables, large chimneys and a pair of cupola-topped turrets at one end. Another local firm, Clayton & Black, added a colonnade on this side in 1906. In 1927, the north side was extended in a style which matched Lainson's work: W.H. Overton's design included gables with half-timbering and tile-hanging.

The Asolo Altarpiece is a 1506 oil on panel altarpiece by Lorenzo Lotto. For a long time it was displayed in the Santa Caterina Oratory in Asolo but it is thought to have originally been painted for the Battuti confraternity's side- chapel in Asolo Duomo, where it now hangs. It is signed "Laurent[ius] Lotus / Junio[r]Sometimes previously misread as "Junio" ie June. M.D.VI" on a cartouche in the lower centre.

Hinsz put a cartouche below the Rugpositief, with an inscription surrounded by rich rococo carvings. A further reconstruction took place in 1806 to 1809 by Heinrich Hermann Freytag, placing the organ on the wooden gallery we see now. The balustrade is decorated with relief-like carvings in panels between pilasters. Freytag moved the pedal pipework onto new soundboards either side of the Hooofdwerk, and extended the main case by adding an extra pair of towers.

The chancel arch has a large cartouche at center; a large silver lamp hangs in front of it. The left side altar has an image of Christ Crucified above, and the right side altar images of equal size. The church has a rich collection of 19th century images, including statues of Saint Amaro, Saint Rita, Saint Gonsalo, Our Lady of Victory, Our Lady of Protection. The church additionally has two images of Christ Crucified.

De Broca's first commercial success came with Swords of Blood (Cartouche), filmed in 1962. This film also saw two more names become associated with de Broca: the actor Jean-Paul Belmondo and the producer Alexandre Mnouchkine. International acclaim came with That Man from Rio (L'Homme de Rio) in 1964, Up to His Ears (Les tribulations d'un Chinois en Chine) in 1965, The Man from Acapulco (Le Magnifique) in 1973 and Incorrigible (L'Incorrigible) in 1975.

Djedefhor was a son of Pharaoh Khufu and half-brother of pharaohs Djedefre and Khafre., p.58 Queen Meritites I is named in the tomb G 7220 of Djedefhor and it is possible she is his mother.gizapyramids.org G 7220 He is mentioned on an inscription in Wadi Hammamat, his name appears in a cartouche, written after the names of Khufu, Djedefre and Khafre, preceding the name of another of his brothers, Baufra.

These people were Joseph Bellotti, Jacob Solari, Izydor Affaita and Maderni. The main role in decorating the palace was played by German sculptor, Andreas Schlüter, who had previously cooperated with Tylman. Jan Dobrogost Krasiński The first floor porte-fenêtre (vertical French door and window) was crowned with a cartouche supported by two angels bearing the founder's monogram JK for Jan Krasiński. The frescoes were made by John III Sobieski's court painter Michelangelo Palloni.

"Feel the Groove" is a song by the Belgian eurodance group Cartouche. It was released in January 1991 as the lead single from their album, House Music All Night Long. A CD maxi with new remixes was also available, but it was marketed at the same time as the other media. The song was their biggest hit, peaking at number 13 in France and charting in the United Kingdom and the United States.

Whilst Manetho gives Hellenized versions of the nomen of the kings, the ramesside lists only use the prenomen. It is therefore difficult to discern which nomen belongs with which prenomen. In addition, many ruler of later periods used the cartouche-versions of their nomen and prenomen separately in inscriptions. Thus, it is only in inscriptions that give both names side by side that these can be securely associated with any given king.

Over the northern side nave there are three hipped rooves. The north side nave has a uniaxial western wall, the ground floor has a neo-Gothic portal with Kamil Hilbert´s initials dated 1906. The side northern facade is without buttresses and has four axial symmetry. The Gothic portal with profiled lining by Hilbert adds aedicula framing oval cartouche in the shield, it comes from the Baroque portal from the late 17th century.

The architrave carries the inscription "Huius lingua salus hominum", meaning "His word is the safety of men". The arch is decorated with festoons with flowers and fruit, a typical element of Mantegna's paintings in Padua, influenced by Francesco Squarcione. The basement has a cartouche with the date 1460 (according to others, 1468 or 1469). It is currently disputed if the painting was executed by Mantegna and his assistants, or by the latter alone.

In the foreground is a tired-out Anthony, supported after the fall by a monk and a layman; the latter has been traditionally identified as Bosch himself. Under the bridge which crosses an icy lake are three figures, one of which is a monk reading a letter. Also on the lake is a demon bird with skates: its beak holds a cartouche with the word "fat". This could be a reference to the simony scandal.

One, originally thought to be Veronese's work, was reattributed when the name "Stefano", in Hebrew letters, was discovered in a cartouche. As of now, some fifty works have been identified as his with some certainty. Many of his works were originally attributed to Francesco Vecellio and Polidoro da Lanciano.Cernotto @ Artibus et Historiae There is some evidence that he worked for Titian in the 1520s and was primarily his student, rather than Veronese's, as formerly believed.

Calcite model shell, inscribed with cartouche "Beloved of Nekheb". 19th Dynasty. From El Kab, Egypt. The Petrie Museum of Egyptian Archaeology, London The walled settlement of Nekheb was one of the first urban centres of the Early Dynastic period, and for a short time in the New Kingdom (1550–1069 BC) it eclipsed in the city of Nekhen or Hierakonpolis on the opposite bank, becoming the capital of the third nome of Upper Egypt.

In front of the altar there is a cartouche with the image of the Virgin and Child. The chapel of St. Augustine in its ceramic altarpiece shows the Holy Father. The main altar, made in 1518, is considered a major part of the monastery, created by the Italian ceramist Niculoso Pisano. The style Pisano uses is Mudejar, and combines the rich harmony of color, being one of the most important ceramic assemblages of the peninsula.

The gates and gate piers at the entrance to the park are Grade II listed with Historic England. They were erected in 1912 for the opening of the park and have scrollwork and foliage. In the centre of each gate there is a cartouche showing the borough insignia. On the East pier there is a plaque noting the opening of the park on 9 November 1912 and saying the gates were given by Geo.

Another cornice runs above the attic and contains gargoyle medallions at the corners. The Woodbury Granite Company provided the granite for the facade. The main entrance is through a set of glass-and-metal doors in the center of the Broad Street elevation; it is accessed by a small staircase leading from the sidewalk, flanked by short pedestals. Above the doorway, a carved eagle is perched on a cartouche atop two crossed branches.

The book opens with a monumental title page, followed by a four-page typeset instruction in the art of writing. After this a series of 42 copperplate engravings is presented, including specimens in roman, italic, blackletter, Hebrew, and Ancient Greek fonts, in nine different languages. Each specimen is framed by ornate grotesque cartouche. All plates were engraved by Hondius, who included signatures on the pages that show calligraphy invented by other artists.

A map of Newecastle (sic), drawn in 1610 by William Matthew, described it as "Severus' Wall", mistakenly giving it the name ascribed by Bede to the Vallum. The maps for Cumberland and Northumberland not only show the wall as a major feature, but are ornamented with drawings of Roman finds, together with, in the case of the Cumberland map, a cartouche in which he sets out a description of the wall itself.

Ph. Rombouts and Th. van Lerius, De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde Volume 2, Antwerp, 1864, p. 164, on Google books Five years later he was registered as a master of the Guild. Mocking of Christ in a sculpted cartouche with a garland of holly, thistles, morning glory and other flowers on a stone ledge He married Catharina van Zeverdonck on 17 February 1658 with whom he had 11 children.

In the 19th century, the column was located in the central part of the bridge, in front of the commemorative marker. On 6 December 1878, the king suggested an enlargement of the bridge. There is an 1880 inscription in the oval cartouche, quoting the last time it was remodelled, the pillar construction and the placement of the commemorative marker. It was likely at this point that there stone guards for grates in iron.

Style also is significant. For example, Kunisada, once he changed his gō to Toyokuni, initiated the practice of signing prints with a signature in the elongated oval toshidama ('New Year's Jewel') seal of the Utagawa school, an unusual cartouche with the zig- zag in the upper right-hand corner. His successors continued this practice. In modern scholarship on the subject, a Roman numeral identifies an artist in the sequence of artists using a gō.

The existing tower was built during the reign of Casimir IV Jagiellon in the 15th century as an integral part of the so-called Great House, the seat of the prince. During the reign of Sigismund I the Old and Sigismund II Augustus, the castle was enlarged. The Sigismund the Old's cornerstone preserved above the entrance on the east side of the array. It bears the date 1520 and a cartouche with Sigismund's eagle.

Sobekneferu was the daughter of King Amenemhat III. Manetho's Aegyptiaca states that she also was the sister of Amenemhat IV, but this claim is unproven. Researchers have yet to find proof of Manetho's claim and none of Sobekneferu's documented titles support the claim. Sobekneferu had an older sister named Neferuptah, who was the heir next in line after Amenemhat IV. Neferuptah's name was enclosed in a cartouche and she had her own pyramid at Hawara.

The main block also > features coupled Ionic columns and an ornamental parapet culminating in a > central sculptural cartouche. The side wings, which are lower than the main > block, are articulated with Tuscan pilasters and arched windows. The piano > nobile rests upon a rusticated brick base with a heavy water table. Its interior is now fairly plain, as courtroom ornamentation has been removed or hidden, and lowered ceilings have been installed in many areas.

The Renaissance portal on the third floor with an intersia door is from 1619. It is framed by red polished marble from the end of the 16th century. Two smooth columns with shaft-rings support an entablature with a gabled cornice containing a relief bust of the king and a cartouche with the inscription "Senatus". The portal is crowned by the armorial bearings of the Old Town flanked by allegorical figures representing Truth and Justice.

Toby A. H. Wilkinson: Early Dynastic Egypt. Strategies, Society and Security. Routledge, London 1999, , p. 101 – 104.Kenneth Anderson Kitchen: Ramesside Inscriptions, Translated and Annotated Notes and Comments, vol. 2. Blackwell, Oxford 1999, , p. 534 – 538. Likewise, Dietrich Wildung favors equating Nebka with Sanakht, although he questions the validity of the seal as evidence given that it is too badly damaged to read the inscription within the cartouche as "Nebka" with any certainty.

1618, containing a brass chandelier dated 1686. There are brasses to Elizabeth Roper, d.1567, to John Worley, d.1621, with 2 foot figures, and a painted alabaster effigy of a stiff recumbent knight with his lady on a marble sarcophagus, whilst a son and two daughters kneel on a panel to the rear in a coffered niche, with an architectural surround with corinthian capitals, a dentil cornice, obelisks and a cartouche.

The two windows that flanked the main entrance were replaced by niches with sandstone vases. The Rococo-style Cartouche above the main entrance and the Neclassical attica was also added at this point. The combination of decorative elements from different architectural styles is a characteristic feature of the Historicist style that dominated Danish architecture in the 1890s. The side wing contains two small apartments flanking a stable with room for nine horses.

Kashi ( "riverside") most likely refers to the Haguro-dobu moat running outside the main gates of Yoshiwara. A prostitute working there was of the lowest rank, and would not have had the training and refinement of those working within the pleasure district, and served those who could not afford the fees to enter. The print bears a green cartouche. The woman stands with her shoulders rounded while cleaning her teeth with a toothpick.

Cold Steel Trailmaster Cold Steel Tanto design knife with Black Hills Ammunition Company cartouche. Carbon steel with high chromium content +vanadium. Blade Length: 7 1/2" Length overall: 12 3/4" Steel: U.S. CPM 3-V High Carbon Weight: 13 oz Blade Thickness: .2-inch Handle: 4 3/4" Long G-10 Sheath:Secure-Ex® Cold Steel "Lucky" Gentleman's pen knife made in Italy of S35VN Steel, with 2 5/8" blades.

Nothing is known about the life of Egidus Nuemans. He is believed to have been active in Flanders in the second half of the 17th century. A stone cartouche surrounded by garlands of flowers and birds with an Italianate landscape in the centre Egidus Nuemans was a painter of flower and fruit still lifes. Only three known works by him are known, all of which were recently auctioned in the art market.

The architrave protruding above the architectonic elements is adorned with the dedication inscription DEO.IN.HONOREM.S.PHILIPPI.NERII.DICATUM. Above it, there is a triangular protruding tympanum in a cartouche (from which garlands run down on both sides) containing the coat of arms of the compagnia. On the facade facing Via Giulia, on the building is embedded a marble property table with the motto of the compagnia: Plagis plaga curatur ("The plagues of the soul are cured with the calamities").

At Wadi Hammamat a rock inscription dates back to the 12th dynasty. It lists five cartouche names: Khufu, Djedefra, Khafra, Baufra and Djedefhor. Because all royal names are written inside cartouches, it was often believed that Baufra and Djedefhor once had ruled for short time, but contemporary sources entitle them as mere princes. Khufu's attendance roll call in this list might indicate that he and his followers were worshipped as patron saints.

It was last seen February, 2018 in the TV series "Endeavour", series 5 episode 2, "Cartouche". Though the conversion to Television Station KXIW did not occur until 1968 on "The Monkeys," KXIW made an appearance on "Bewitched," on 10 March 1966. 10 March 1966 KXIW Appearance on Bewitched Real Mammoth Studios exist in various countries, such as America, Canada, and Great Britain. Real Mammoth Pictures exists and is a motion picture production company in America.

The altar of St Joseph (San Giuseppe) had an altarpiece depicting the Marriage of the Virgin (circa 1630). In 1750, the interior underwent a major refurbishment, leaving a single nave with three chapels on each side. The façade portal in stone has a rounded pediment and a Baroque cartouche. In 1931 the interior was frescoed by Tommaso Gentili (1868-1963) of Osimo;Gli Amministratori di Osimo, storia di donne e uomini che hanno servito la nostra città.

It was shaped in the form of a temple pylon with a gradual narrowing near the top. Front view: The god Heh, who represents the number one million, holds notched palm leaves signifying years. Above his head, Heh appears to support the cartouche of Amenhotep III symbolically for a million years. Side view: A series of festival (ḥb) emblems together with a Sed (sd) emblem identifying the stela as one made for Amenhotep III's Sed Festival royal jubilee.

Byam Shaw placed his signature in a cartouche in the shape of a scroll, giving rise to the nickname 'the Scroll School' for himself and his friends Eleanor Fortescue-Brickdale and Frank Cadogan Cowper. Atkinson used a similar device to support her own signature on works in watercolour. In 1915 Atkinson painted 'Ariel', a character from Shakespeare's The Tempest. It was at one time with the Maas Gallery in London and is now in the collection of Sam Elliott.

The house was built in 1895-1896, on a design by architect Joseph Święcicki for a master stonecutter Carl Bradtke. Carl Bradtke worked also with Fritz Weidner for the erection of nearby building at N°91. The house, from the beginning, had been thought as a rental building as well as a trading one with two wings merging at the rear. The initials of the first owner ("CB") appear in a cartouche of an upper pediment.

Much of what is known about Amarna's founding is due to the preservation of a series of official boundary stelae (13 are known) ringing the perimeter of the city. These are cut into the cliffs on both sides of the Nile (10 on the east, 3 on the west) and record the events of Akhetaten (Amarna) from founding to just before its fall. Limestone fragment column showing reeds and an early Aten cartouche. Reign of Akhenaten.

S.B. Ryholt: The Political Situation in Egypt during the Second Intermediate Period, c.1800–1550 BC, Carsten Niebuhr Institute Publications, vol. 20. Copenhagen: Museum Tusculanum Press, 1997, pp. 87-88 Intin is depicted on a relief – now exhibited at the Beirut National Museum – while sitting in front of the cartouche of pharaoh Neferhotep I (13th Dynasty of Egypt); this situation suggests that both rulers were contemporary, with Intin being at least formally a vassal of Neferhotep.

At the first floor level, there are three sets of doors, one in each bay. The end sections also have pilasters in the Corinthian style. Above the central bay is an entablature containing the seal of New York City, while smaller entablatures with the seals of New York state and the United States are located on the left and right bays. On the third story, above the center bay, there is a cartouche of the New York Botanical Garden.

Vincenza Danesi The monument consists of a mixtilinear cartouche with scrolls, a black marble niche for the portrait of the deceased, flanked by two flaming stucco torches, and the coat-of-arms. The niche is empty but the presence of a small plinth reveals that originally it contained a bust. The noble lady died in 1682 at the age of 68. The monument was erected by her son, Bernardino Petrinochi for the "dearest mother" in 1683.

Characters may be displayed on one or two lines. The industry standard size number plate is or if it includes a horizontal cartouche to display information about the car dealer. The left side of the plate must contain a blue band with the letter F for France under the stars of the European flag. A similar band must be present on the right side to display a départment code and the symbol of the region where the is located.

This is a regional style of lettering that occurs in Breconshire and in Lincoln and in Humberside in the United Kingdom. The style where the lettering and armorial are raised in cameo and the lettering set in a border or cartouche may indicate a local workshop. These slabs occur during a period from about 1630 to 1740. In Breconshire these slabs might be connected to the Brute family of stonemasons who lived at Llanbedr Ystrad Yw, Breconshire.

Usercherês, Sephrês (in Greek, Σϵϕρής), and Nefercherês are believed to be the Hellenized forms for Userkaf, Sahure and Neferirkare, respectively. Manetho's reconstruction of the early Fifth Dynasty is in agreement with those given on two more historical sources, the Abydos king list where Sahure's cartouche is on the 27th entry, and the Saqqara Tablet where Sahure's name is given on the 33rd entry. These lists of kings were written during the reigns of Seti I and Ramses II, respectively.

The actual first chemical ammunition was the French 26 mm cartouche suffocante rifle grenade, fired from a flare carbine. It contained 35g of the tear-producer ethyl bromoacetate, and was used in autumn 1914 – with little effect on the Germans. The Germans contrarily tried to increase the effect of 10.5 cm shrapnel shells by adding an irritant – dianisidine chlorosulfonate. Its use went unnoticed by the British when it was used against them at Neuve Chapelle in October 1914.

De Heem was considered one of the greatest painters of his time. He was well paid and a portrait of Prince William III surrounded by a cartouche of flowers and fruit was sold for 2000 guilders, one of the highest prices ever paid for a painting during the Dutch Golden Age. His sons worked together with him in his workshop on the commissions for new paintings. He retouched their work and put his signature on the paintings.

Neferkara I (also Neferka and, alternatively, Aaka) is the cartouche name of a king (pharaoh) who is said to have ruled during the 2nd Dynasty of Ancient Egypt. The exact length of his reign is unknown since the Turin canon lacks the years of rulershipAlan H. Gardiner: The royal canon of Turin. Griffith Institute of Oxford, Oxford (UK) 1997, ; p. 15 & Table I. and the ancient Egyptian priest Manetho suggests that Neferkara's reign lasted 25 years.

Garland paintings were usually collaborations between a still life and a figure painter. The figure painter would take care of the figures inside the cartouche while the still life painter was responsible for the flower or fruit garland.Ursula Härting, Review of Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image The names of the collaborators of Gillemans on his garland paintings are not generally known but a collaboration with Thomas Willeboirts Bosschaert is presumed.

Garland paintings were usually collaborations between a still life and a figure painter. Sometimes the still life painter would paint the garland and only much later another painter would add the figures or grisaille in the centre. The centre in some of the garland paintings that have been preserved were never filled by an image. The cartouche in the center of Verbruggen's garland paintings was usually filled with non-religious imagery such as portraits and mythological scenes.

According to Rainer Stadelmann and George Reisner, it is possible, that Baka was pharaoh in Egypt for a very short time (maybe one or two years). Their assumption is based on the so- called Unfinished Northern Pyramid of Zawyet el'Aryan, which is located at Zawyet el'Aryan. This unfinished pyramid shaft was abandoned shortly after beginning and only a dozen of black ink workmen's inscriptions were found. These provide a royal cartouche name, which remains partially illegible.

Some egyptologists propose that this is either the Horus name of king Huni or the Gold name of king Nebka. This, however, would implicate that the pyramid was built during the late 3rd Dynasty rather than the 4th. ;Name of the king Red-ink inscription with the name of the crews of workmen, 1905 drawing by A. Barsanti. The main problem is the correct reading of the cartouche name found within at least six ink inscriptions.

This is shown in the asymmetrical facade, with a wrap-around porch and tower. The Romanesque Revival is expressed in the varied window sizes, stone detailing in the cornice and window hoods, and a stepped front gable. The interior is equally impressive, featuring inlaid floors and a cartouche above the entryways to the stairwell and dining room, all trademarks of Vonnegut & Bohn designs. The original imported stained glass windows were removed from the house in the early 1980s.

Scarab with the cartouche of Yaqub-Har in the British Museum (EA 40741). The dynasty to which Yaqub-Har belongs is debated, with Yaqub-Har being seen variously as a 14th Dynasty king, an early Hyksos ruler of the 15th Dynasty or a vassal of the Hyksos kings. Yaqub-Har is attested by no less than 27 scarab seals. Three are from Canaan, four from Egypt, one from Nubia and the remaining 19 are of unknown provenance.

Excavations of ancient Egyptian sites have yielded images of the scarab in bone, ivory, stone, Egyptian faience, and precious metals, dating from the Sixth Dynasty and up to the period of Roman rule. They are generally small, bored to allow stringing on a necklace, and the base bears a brief inscription or cartouche. Some have been used as seals. Pharaohs sometimes commissioned the manufacture of larger images with lengthy inscriptions, such as the commemorative scarab of Queen Tiye.

Heraldry has its origins from associations with warfare and the age of chivalry. The traditional shield was also associated with war and so women did not usually display familial arms on escutcheons. Rather, they could display these on various other shapes: more commonly the lozenge, an oval, or a cartouche. The crest–a device that sits atop the shield on an armorial achievement–likewise was not accorded to heraldic devices of women as these had associations with warfare.

Amenhotep II's cartouche showing later damage and a variation of his nomen (from Karnak). Amenhotep's coronation can be dated without much difficulty because of a number of lunar dates in the reign of his father, Thutmose III. These sightings limit the date of Thutmose's accession to either 1504 or 1479 BC.Edward F. Wente, Thutmose III's Accession and the Beginning of the New Kingdom, p.267. Journal of Near Eastern Studies, The University of Chicago Press, 1975.

The gold band was itself kept in place by a ribbon tied into a bow at the back of the head. Still remaining and mounted on the skullcap are four uraei made of gold beads and red and blue glass beads. In the center of each uraeus is a gold cartouche containing the name of the Aten. The skullcap portion of the crown resembles, and was likely associated with, the skullcap worn by the deity Ptah.

Nswt-bjtj crest combined with the nbtj crest (top row; here: king Semerkhet of 1st dynasty). Later example of the nswt-bjtj crest, here introducing a cartouche name (Thutmose II) Three different uses for the nswt-bjtj group of signs are known. First, they represented the highest level of command, for the king himself as well for his subjects. Thus, every title of an official containing the nswt- or bjt signs gave the holder the highest executive authority.

It has an octagonal base, a richly carved circular bowl, and a dome-shaped cover. From the roof hangs an eight-branch candelabrum. In the chapel is a wall tomb to Sir James Altham, who died in 1616, and his last wife Helen, who died in 1638. It consists of two praying figures facing each other in an alabaster and marble frame, consisting of Corinthian columns and an open segmental pediment containing a cartouche flanked by obelisks.

Zeleznik is also the designer and artist for the science fiction/superhero Skraypers setting for Rifts and Heroes Unlimited. Some of his RPG credits include Beyond the Supernatural, Systems Failure, Nightbane, and Macross II. Zeleznik has illustrated cards for the Magic: The Gathering collectible card game. Lightstrike: The Collected Illustrations of John Zeleznik was published by Cartouche Press, and he also illustrated a Rifts Coloring Book. Zeleznik also designed all of the labels for the Leona Valley Winery.

Hippolyte Louis Rimbaut (1818–1888) was a 19th-century French playwright. A collaborator with Le Temps, his plays were presented on the most important Parisian stages of the first half of the 19th century, including the Théâtre du Panthéon, the Théâtre de l'Ambigu, and the Théâtre des Délassements- Comiques. Contrary to what some sources can write,For example, Marc-Antoine Legrand, Cartouche ou Les voleurs, 2003, (p. 338) it was not a pseudonym for Fulgence de Bury.

Garland paintings were usually collaborations between a still life and a figure painter. Sometimes the still life painter would paint the garland and only much later another painter would add the figures or grisaille in the centre. The centre in some of the garland paintings that have been preserved were never filled by an image. The cartouche in the center of Bosschaert's garland paintings was usually filled with non-religious imagery such as portraits and mythological scenes.

Cartouche name Sneferu in the Abydos King List Sneferu was the first king of the Fourth Dynasty of ancient Egypt, who according to Manetho reigned for 24 years (2613–2589 BC). Manetho was an Egyptian priest, living in the third century BC, who categorized the pharaohs of dynastic Egypt into thirty-one dynasties.An Introduction to the Archaeology of Ancient Egypt, pg. 36 His schematic has its flaws; nevertheless, modern scholars conventionally follow his method of grouping.

Katsushika Hokusai, The Poem of Fujiwara no Michinobu Ason, 1839, Princeton University Art Museum, depicting the poem transcribed in the cartouche at upper right: Though I know full well That the night will come again, E'en when day has dawned; Yet, in truth, I hate the sight, Of the morning's coming light. Born in 972, he was a son of Tamemitsu and adopted by the latter's brother Kaneie.McMillan 2010 : 141.Daijirin entry "Fujiwara no Michinobu". Sanseidō.

In 1823 or 1824, British adventurer Henry Westcar apparently discovered the papyrus during travels in Egypt. For unknown reasons he didn't note the exact circumstances under which he obtained the artifact. In 1838 or 1839, German Egyptologist Karl Richard Lepsius claimed to have received the papyrus from Westcar's niece. As Lepsius was able to read some signs of Hieratic, he recognized some of the royal cartouche names of the kings and dated the text to the Old Kingdom.

The usual tomb plan consisted of a long inclined rock-cut corridor, descending through one or more halls (possibly mirroring the descending path of the sun god into the underworldStrudwick and Strudwick (1999), p.117) to the burial chamber. In the earlier tombs, the corridors turn 90 degrees at least once (such as KV43, the tomb of Thutmose IV), and the earliest ones had cartouche-shaped burial chambers (for example, KV43, the tomb of Thutmose IV).Reeves and Wilkinson (1996) p.

It is crowned by a baroque pediment with volutes and a diamond-shaped pinnacle. A cartouche is at center with an inscription reading: > "The Most Illustrious and Honorable André de Melo de Castro, Count of > Galveas Virei and Captain General of the Sea and Land of the State of Brazil > had this font made 1746." IPHAN performed basic conservation works on the fountain in 1946 and 1954. It was fully restored in approximately 1970 under the direction of the architect Anísio Luz.

Stained glass in the nave and transepts is by Clayton and Bell, and by Heaton, Butler and Bayne. In the vestry is a memorial window designed by John Piper and Patrick Reyntiens, dated 1976. Elsewhere is armorial glass that was formerly in the earlier house on the site now occupied by Phyllis Court in Henley-on-Thames. In the south transept is a monument dating from the early 17th century, and in the nave is a cartouche dating from about 1718.

When the building was erected, Gorham supplied the bronze ornamentation for the facade on the top floors, fifth- floor balconies, and ground level, manufactured to designs by White. The ornamentation accounted for 10% of the building's $1.25 million construction cost. The copper cornice at the top of the building, once having been polychrome and gilded, has corroded to a green color. The middle floors were more simple, though a cartouche with lions was installed on the top of the fourth floor.

Garland paintings typically show a flower garland around a devotional image, portrait or other religious symbol (such as the host). The paintings are usually a collaboration between a flower painter and a staffage painter. Stone Cartouche with Virgin and Child in a Garland of Flowers Van Thielen produced multiple garland paintings in collaboration with other artists. His collaborators included his brother-in- law Erasmus Quellinus II, Nicolas de Largilliere, Jan van Balen, Frans Francken the Younger, Cornelis Schut and Cornelis van Poelenburch.

Gilfillin and Houston Building also known as Greenville Bakery and Greenville Auto Sales, is a historic commercial building located at Greenville, South Carolina. It was built in 1915, and is a two-story, brick commercial block. The building's façade is organized into two storefront sections and features a curvilinear brick gable and parapet embellished with a central, circular, limestone-keyed and brick-surrounded cartouche containing the letters "G" and "H" intertwined. It was added to the National Register of Historic Places in 2004.

Significant memorials are those to the Hussey baronets: Sir Charles (1626–1664), and his wife Elizabeth; and Sir Edward (c. 1661–1725), and his wife Elizabeth (died 1750). Both memorials are at the east wall of the nave. Sir Charles’s, immediately to the south of the crossing arch, is of a bust set between columns with hanging foliate relief below brackets, these supporting a broken and scrolled pediment with a decorative scrolled cartouche bearing coat of arms at its centre.

Christ is represented in the cornerstone crushing the snake (a symbol of the Devil), and the apple (the fruit Eve gave to Adam) represents original sin, which in Christian doctrine required the sacrifice of the Saviour. Ripa describes Faith as "having the world under her feet", and Vermeer used the symbol quite literally, showing a globe of the earth under the woman's right foot. (The globe, with its distinctive cartouche (decorative label) has been identified as one made by Hendrick Hondius).

In keeping with the style and era, the building features many ornamental touches, such as a molded cornice, quoins, denticulated frieze second-story balcony and domed first-floor windows. The center of the top balustrade has an elaborate cartouche. The interior likewise boasts sliding double doors, dark-stained woodwork and brick fireplaces It was added to the National Register of Historic Places in 1982. The YMCA has since moved to different quarters a few blocks away and become the Dutchess County YMCA.

Above St Paul's in the third plate is a figure of Mercury in Roman costume, with winged boots and hat, holding a caduceus. The central fourth plate has a large decorative cartouche with the word "LONDON" with the arms of the City of London and lion supporters. A winged figure, possibly Fame, blows a trumpet at the top of the fifth plate. The sixth plate has three more cherubs, carrying a chain, a crown, a jewel chest, and a bird.

Leonardo da Vinci's illustration of a rhombicuboctahedron in Divina proportione (1509) The painting has been generally attributed to Jacopo de' Barbari due to the presence of a cartouche with the inscription IACO.BAR. VIGENNIS. P. 1495, but the attribution to the Venetian painter has been questioned. Some attribute the painting to Leonardo da Vinci, who began collaborating with Pacioli when the latter moved to Milan in 1496. For the next two years, Leonardo illustrated Archimedean solids, including the rhombicuboctahedron, in Pacioli's Divina proportione.

Glori, Carla. "Osservando il quadro di Capodimonte: nuove ipotesi per gli enigmi del ritratto di Luca Pacioli", (published in the book Luca Pacioli tra Piero della Francesca e Leonardo, ed. Stefano Zuffi, Marsilio Editore, Venice, 2017)The researcher Glori in 2020 published her ten-years research focused on the cartouche with the inscription IACO.BAR.VIGENNIS P.1495, where she summarizes the methodological path followed in order to prove the scientificity of the decryption of the mysterious cryptogram (see External link to Academia edu).

It was later added to the Council of State building (Staatsratsgebäude), with an altered cartouche, where it forms the main entrance. The empty space where the Stadtschloss had stood was named Marx-Engels-Platz and used as a parade ground. Liebknecht's balcony in the State Council Building (Staatsratsgebäude) (today's ESMT European School of Management and Technology) In 1964, the GDR built a new Staatsrat or Council of State building on part of the site, incorporating Liebknecht's balcony in its facade.

A few Eurodance artists (including La Bouche, 2 Unlimited, Real McCoy, Cartouche, Corona, Haddaway, and Ace of Base) made the Rhythmic Top 40, Top 40 Mainstream and the Billboard Hot 100 during the early to mid-1990s. However, the sound tended to be more house and the rap-oriented artists received airplay. For instance, the German hip-house project Snap!, the Belgian hip-house project Technotronic and the Dutch techno dance project L.A. Style received quite a bit of airplay early on.

An example of his work is a salver featuring signs of the Zodiac, a border cast chased with rococo scrolls, rococo decoration of the surface, and feet in rococo-cartouche form. One of the most monumental works created in rococo expression was Storr’s large candelabrum, created during the reign of William IV. The piece featured flowing branches and rolling, curved surfaces. During the late 1820s, the aristocracy commissioned anti-classical styles, producing a much different expression of rococo in England.Coffin (2008), p.

This and a symmetrically matching bay has a tall arched window, cornice and cartouche in the frieze. in between is a five-window range with an attic storey with small windows. A rusticated basement takes advantage of the fall of the land; the elevation to St Petersgate is broadly similar to the Wellington Street South elevation but with basement windows. The ground floor library has arcades and a glazed dome supported by Ionic columns, with stained glass windows with the names of writers.

The entrance is topped by a bracketed cornice that is surmounted by a cartouche with flanking baskets. The Union Trust Company was founded in 1906 by the merger of three city banks, including its oldest, the Springfield Bank (founded 1814). This building served as the headquarters of that bank and its successors until 1970. It is one of a handful of works in the Pioneer Valley of Massachusetts that were designed by the nationally prominent Boston architectural firm Peabody & Stearns.

Andreas G. Orphanides, "Late Bronze Age Socio-Economic and Political Organization, and the Hellenization of Cyprus", Athens Journal of History, volume 3, number 1, 2017, pp. 7–20 Large amounts of IIIC:1b pottery are found in Palestine during this period as well. There are finds that show close connections to Egypt as well. In Hala Sultan Tekke Egyptian pottery has been found, among them wine jugs bearing the cartouche of Seti I and fish bones of the Nile perch.

It is only from the later Middle Kingdom period (c. 2055–1650 BC) onwards that the mention "Sa-Rê" was placed, together with the niswt-bity title, before the cartouche containing the name of the king. In the intervening time, king Neferirkare Kakai, the third ruler of 5th Dynasty (c. 2490–2345 BC), was the first who separated the nswt-bity and Sa-rê titles and turned them into two different, independent names, which are now called the prenomen and the nomen, respectively.

In: The political situation in Egypt during the second Intermediate Period. p. 17. The Royal kinglist of Saqqara from the tomb of Tjuneroy (19th dynasty) lists nine kings for the 4th dynasty, whilst the Abydos King List gives only six names. Curiously the Saqqara-Table has after Shepseskaf two cartouches before Userkaf, but both are heavily damaged, so the original names are no longer legible. Whilst one of these two cartouches once may have held Thamphthis' name, the other cartouche remains a mystery.

The collaborators painted the figure or figures inside the cartouche while van Everbroeck painted the fruit garland. An example is the Garland of fruit surrounding St Joseph with the Child Jesus (1667, at Hampel Fine Art Auctions on 27 March 2009 in Munich, lot 280). The artist has included a beetle on the stone ledge and a butterfly on the left side among the fruit in the garland. Van Everbroeck rendered the fruits in a luminescent and naturalistic manner, with a pronounced depth.

All the large windows have keystones with cherubs' heads. The main door in the centre of the central block has Ionic columns with a broken pediment containing a cartouche of the arms of Liverpool. Each wing has three square-headed doors approached by steps. The wall, railings and gate piers on School Lane are also listed at Grade I. The 2005-2008 renovation at a cost of £14 million also included a new 2250 square metre extension, the architects being BIQ Architecten.

Signet Society plaster cartouche by heraldic artist Pierre LaRose, originally fabricated in 1902; restored in 2014 by Mark Hruby The Signet Society of Harvard University was founded in 1870 by members of the class of 1871. The first president was Charles Joseph Bonaparte. It was, at first, dedicated to the production of literary work only, going so far as to exclude debate and even theatrical productions. According to The Harvard book The Harvard book: a series of historical, biographical, and descriptive sketches, 1875.

Merchants' National Bank was built in 1914 and had its grand opening on January the first, in 1915, along with the Purdue State Bank in Indiana, also designed by Sullivan. Structurally the building is a rectangular box, with a magnificent main facade and a windowed side facade. Although this building is smaller than either his Owatonna or Cedar Rapids banks it appears just as monumental. This is due largely to the oversized cartouche that surrounds a circular window on the Fourth Street facade.

The Institute of Chemistry (Chemisches Institut) building was one of the first built specially for Gdańsk University of Technology in 1900–1904. The main entrance is decorated with a set of symbols relating to the purpose of the building. Above the entrance arch there is a decorative cartouche (currently with the inscription "CHEMISTRY") crowned with a triangular open tympanum. The refurbishment of the north wing of the Chemistry A building, that includes the Chemical Auditorium and infrastructure rooms, was completed in 2010.

They established the "St. Cesario Society" in 1902 in honor of their hometown's patron saint, Cesario deacon and martyr.The Beacon, A glance at the past an italian chapter in Western Morris, May 8, 2014 Saint Cesario is venerated in St. Michael Church of Netcong; a bone fragment with the Latin cartouche "ex ossibus S. Caesarii diac. m." is preserved in this church, set in a silver reliquary, solemnly exposed on the high altar for the feast, celebrated on the penultimate Saturday of July.

A terracotta eagle tops a semicircular fanlight above the doorway. Tuscan order columns flanking the entrance support an entablature inscribed with the name of the building and capped by a decorative cartouche. In the lobby, polished Colorado Yule marble surrounds the doors leading from the vestibule and clads the lower portion of the walls on either side of those doors. It also surrounds the elevators and extends for several feet on either side of the elevators, covering the lower portion of the walls.

It features a tin roof, wooden cornice with decorative ornaments, and molded brick below the cornice, windows, and on the tower. The alternately projecting bays also feature molded brick. The ribbed tin dome features eight facets, cartouche windows, and is topped with a spire. The corner building might be one that was advertised in the Evening Star from November 1880 to February 1881: The corner house, listed at 1756 M Street NW, was owned by William Warrington Evans from 1882 to 1901.

According to Egyptologist Aidan Dodson, it is possible that Setka was pharaoh in Egypt for a very short time (maybe one or two years). His assumption is based on the so-called Unfinished Northern Pyramid of Zawyet el'Aryan, which is located at Zawyet el'Aryan. This unfinished pyramid shaft was abandoned shortly after beginning and only a great sum of red and black ink inscriptions left by the workmen were found. These provide a royal cartouche name, which remains partially illegible.

Praha 2001, page 363–418. As a consequence there are several alternative readings of the cartouche name: Kurt Sethe reads Nebka ("His Ka is the lord"), Jean-Philippe Lauer reads Bik- Ka ("his Ka is divine"), Peter Kaplony reads Schena-Ka ("his Ka is forceful") and Gaston Maspero reads Nefer-Ka ("his Ka is beautiful/flawless").Nabil M.A. Swelim: Some Problems on the History of the Third Dynasty (= Archaeological and historical studies, vol. 7). Archaeological Society of Alexandria, Cairo 1983, p. 143-145.

No name of the owner was found on the pyramid site; however excavations of a tomb located immediately south of the pyramid yielded a stone block with a relief bearing the cartouche ḫwj , that is Khui, the nomen of an hitherto unknown pharaoh. The block could come from the mortuary temple of the pyramid complex, traces of which may have been discovered North of the pyramid. However, the identification of Khui as the owner of the complex, although commonly accepted, is still unproven.

Meretseger appears in sources of the New Kingdom of Egypt as the wife of Senusret III. According to that she would be the first Egyptian queen consort to bear the title Great Royal Wife, which became the standard title for chief wives of pharaohs. She was also the first queen consort whose name was written in a cartouche. pp.26-27 However, as there are no contemporary sources relating to Meretseger, she is most likely a creation of the New Kingdom.

He forthwith transcribed it and two years later published his version with his notes and emendations. In two footnotes on pages 66 and 72 Amoretti surmises that the "Messana" in Pigafetta may be the "Limassava" in the map of Bellin. Amoretti and Bellin had not read the books of Combés and Colín nor the revised map of Murillo with the cartouche. He therefore was not aware that the name "Limasaua" was in fact a negation of Herrera's correct account of the Mazaua episode.

Named after the famous Book Brothers of Detroit, it was briefly the tallest building in the city until the completion of the Penobscot Building in 1928. A taller Book Tower of 81 stories was to be built at the opposite end of the Book Building, but the Great Depression cancelled those plans. The building contains a cartouche by the Detroit architectural sculptor Corrado Parducci. From its opening through the mid-1970s the Book Tower remained a prestigious address on Washington Boulevard.

Although Nefertari's family background is unknown, the discovery in her tomb of a knob inscribed with the cartouche of Pharaoh Ay has led people to speculate she was related to him. The time between the reign of Ay and Ramesses II means that Nefertari could not be a daughter of Ay and if any relation exists at all, she would be a great-granddaughter. There is no conclusive evidence linking Nefertari to the royal family of the 18th Dynasty, however.Tyldesley, Joyce.

The Apponyi Palace was built in 1761–1762 by Count György Apponyi, a member of the ancient Apponyi family and advisor to the King of Hungary, in place of two older townhouses. It was acquired in 1867 from the Apponyis by the Bratislava municipality, which subsequently added its arms on the cartouche above the street doorway. Two of its original four wings were demolished in 1910–1912 for the construction of a new municipal building. It was comprehensively renovated between 2003 and 2007.

The windows looking out over the driveway from the Hall depict Elizabeth I at Tilbury. The hall also features the most notable of the manor's impressive chimneypieces; incorporating at its centre a late 17th-century marble cartouche of arms flanked by life-size wooden Mannerist figures of Ceres and Prudence. Other rooms of note include the Oak Room, whose chimneypiece is flanked by cross-legged cherubim, each with six wings. The drawing room and boudoir have Jacobean alabaster mantle-pieces.

Gold also was strongly associated in the ancient Egyptian mind with eternity, so this may have been intended to convey the pharaoh's eternal Horus name. Similar to the Fivefold Titulary Nebty name, this particular name typically was not framed by a cartouche or serekh. It always begins with the depiction of the horus falcon perched above a representation of the sun-(hieroglyph).N5 The combination of the Horus falcon and the gold hieroglyph is frequently found on Ancient Egyptian pectorals (see image).

Ryholt's reconstruction of the name of 'Apepi is significant because five scarab seals inscribed with "King's son Apophis" are known.Cecil Mallaby Firth: The archaeological survey of Nubia: report for 1908-1909, 27, 59, pl. 42 [44]Frederick George Hilton Price: A catalogue of the Egyptian antiquities in the possession of F.G. Hilton Price, London 1897, available online see No 171 p. 25 On two of these seals the inscription is furthermore enclosed in a cartouche and followed by di-ˁnḫ meaning "given life".

The coat of arms in the denominations 5, 10 and 20 centimes was replaced by a female head (Liberty) in 1881. In the 1 and 2 centimes coins, the coat of arms was replaced by a simple Swiss cross in 1948. For the ½, 1, and 2 francs coins, the seated Helvetia was replaced by her standing figure in 1875. The 1888 five franks coin showed a coat of arms with a heraldic shield in a shape inspired by Baroque cartouche designs.

The work is signed and dated VICTORIS CHARPATJO / VENETI OPVS / 1496 on a cartouche attached to the basement. It is contemporary of Carpaccio's cycle of the Legend of Saint Ursula and shows some influences of Giovanni Bellini. It depicts Christ standing on a double basement, keeping the Cross. Behind him is a damask cloth held by two angels and, at the sides, a landscape inspired to the Venetian hills; the castle on the right is similar to that of Udine.

After further training in Breslau (now Wrocław) - about north of Glatz - he worked first as an organist in Franckstein in Silesia.An 18th century map of Glatz County shows Glatz (Kladsko) in the centre, Eckersdorf to the NW just in the NeuRoda district, and Franckstein to the NE, just by the title cartouche. In 1810 he went to Vienna, where he soon became known for his performances on the "mouth harp"Previously known as the 'Mundharmonika' in German. (i.e. Jew's harp).

These papyri are the earliest examples of imprinted papyri ever found in Egypt. Another inscription, found on the limestone walls of the harbor, mentions the head of the royal scribes controlling the exchange of goods: Idu. Khufu's cartouche name is also inscribed on some of the heavy limestone blocks at the site. The harbor was of strategic and economic importance to Khufu because ships brought precious materials, such as turquoise, copper and ore from the southern tip of the Sinai peninsula.

Opposite the epistle is a square pulpit, accessible by stonework and guarded in wood balustrade under cornice, from the anti-sacristy. The triumphal archway of the altar area is constructed over pilasters flanked by two collateral retables, placed on angles and decorated in polychromatic and gilded woodwork. From the presbytery, on either side, are doors that link the sacristy and annexes. On a cartouche over the window of the presbytery, opposite the epistle, is a plaque with the inscription 1901.

The former, in which each word is represented by a symbol, was devised as an alternative by Lang herself. It has been described as "a hieroglyphic-like script that makes use of squiggles and other childlike shapes" . Proper names are written inside a cartouche-like symbol using a series of symbols, where each symbol represents the first letter of its word. Symbols representing a single adjective may be written inside or above the symbol for the preceding word that they modify.

Bakar was granted its coat of arms and town privileges in 1799 by Empress Maria Theresa. The coat of arms was in the artistic style typical for the period, with a cartouche with large landscapes and ornamentation around the shield within a circular inscription. The shield of the coat of arms features a red-and-white checkered top or "chief", with three local gray stone castles on green hills in the middle, and a black anchor on orange at the bottom.

Inarus, seized by Artaxerxes I in the seal Persian king and the defeated enemies. The ancient Egyptian god Amun-Min in front of Artaxerxes' cartouche. Artaxerxes had to face a revolt in Egypt in 460–454 BC led by Inaros II, who was the son of a Libyan prince named Psamtik, presumably descended from the Twenty-sixth Dynasty of Egypt. In 460 BC, Inaros II revolted against the Persians with the help of his Athenian allies, and defeated the Persian army commanded by satrap Akheimenes.

Giorgio Sideri Callapoda came briefly into the news when his copy of a previously unknown fifteenth-century portolan chart by Fra Mauro was sold at auction in Milan, October 1984 at a price of 900 million Italian liras.Ratti 1988:77-85. It was signed in a cartouche Giorgi Callapoda a Candia faciebat, and dated 1541; the coat-of-arms in the map shows that it was made for the Venetian commander of galleys Francesco Zeno the elder, a member of the noble Venetian family of Zeno.

The building was commissioned by the cemetery trustees as a place to hold receptions and other functions. It is a single story building wide and deep, with a full-width porch supported by four tapered columns, and a projecting center gable supported by two additional columns. The gable and the frieze board above the columns are decorated with incised floral patterns, while the tympanum of the gable end has a cartouche for a clock. The building was listed on the National Register of Historic Places in 1983.

Indeed, his full pharaonic royal titulary is known thanks to 16 rock inscriptions found in Umbarakab, Mudenejar, Guthnis, Taifa, Abu Simbel and Toshka, all in Lower Nubia.Darrell D. Baker: The Encyclopedia of the Pharaohs: Volume I - Predynastic to the Twentieth Dynasty 3300–1069 BC, Stacey International, , 2008, p. 140-141Günther Roeder, Debod bis Bab Kalabsche, II, Institut Français d'Archaeologie Orientale, Cairo 1911, pls. 118-121, available online here These inscriptions record Qakare Ini's titulary, sometimes only a cartouche, and never give any more details.

Egyptologists and historians have had great difficulty linking Hudjefa I to any archaeologically identified ruler. The problem is that "Hudjefa" is not a personal name in the conventional sense. Hudjefa means "erased" and might reveal that the original king's name, originally listed in a document or inscribed on some object, was unreadable when the scribe tried to compile the king list. It is thought that a scribe simply noted "erased", but then erroneously put the word into a cartouche, thus making it look like a personal name.

Harle, 48 In these cases it can become an elaborate cartouche-like frame, spreading rather wide, around a circular or semi-circular medallion, which may contain a sculpture of a figure or head. An early stage is shown in the entrance to Cave 9 at the Ajanta Caves, where the chaitya arch window frame is repeated several times as a decorative motif. Here, and in many similar early examples, the interior of the arch in the motif contains low relief lattice imitating receding roof timbers (purlins).

To the left of the altar is the rectangular pulpit on two cantilevers, decorated with a diamond anthemion surrounded by lanceolate, with access to the straight door lintel. The pulpit is surmounted by carved canopy to the level of the roof cornice, decorated with the dove of the Holy Spirit inserted in a circular cartouche. The presbytery is delineated by a lattice balustrade. The triumphal arch is decorated in red painted leaf, surmounted by a crown and flanked by two lateral retables in gold-leaf at angles.

Near the retables are doors to the lateral corridors. Over the cornice is the roof-line of the nave supported by rounded wooden beams, painted with phytomorphic friezes and cartouches, the centre large and cut, with marine symbols and inscriptions. The presbytery and altarpiece have polychromatic red and gold tile, in a rectangular alignment defined by six columns, decorated with birds and small fish over high plinths decorated with acanthus and shells. Corinthian capitals extend toward the attic in archivolts, united by radii with a pelican cartouche.

Twelve of the original fifteen fireplaces remain, and the drawing room's polished marble mantel has the initials of George and Anne Brown entwined on the cartouche. The Coulson family hired Toronto architect David Brass Dick to remodel the dining room in an Art Nouveau style in the 1890s, along with the ornate front hall fireplace. Along with the exterior, the Ontario Heritage Trust restored the interior. The federal government also contributed the recreation of a Victorian library which now houses 2,000 of George Brown's personal books.

Obverse: At the top is a small coat of arms of Ukraine with the semicircular inscription "" (National Bank of Ukraine). At the center of the coin, inside an octagonal cartouche, there is a shield with the emblem of the National Bank of Ukraine. There is also the coin face value, coin issue year, as well as the indications of the metal and its fineness and coin weight in fineness. At the bottom of the coin, it is inscribed in Ukrainian the value of the coin.

The hotel is a three-storey stone building. The 18th-century front has a cornice and parapet with a cartouche of the arms of the Earl of Exeter. The adjacent building which is also called "The Hermitage" at numbers 68 and 69 St Martin's, which has been incorporated into the hotel, is a two-storey building with an attic. The interior includes the remains of a mediaeval hall, probably built in the 14th century, and parts of the structure represent each of the centuries since.

The Egyptologist Jocelyn Berlandini proposed that another statuette, usually attributed to Teti, belongs instead to Menkauhor Kaiu. Berlandini bases her hypothesis on stylistic grounds, noting the resemblance with Menkauhor's seated statue, as well as the location of the second statue, which was uncovered east of Teti's pyramid, in close proximity to Menkauhor's pyramid. Monumental attestations of Menkauhor are limited to a rock inscription at the Wadi Maghareh in Sinai, showing his titulary and a rough stele inscribed with his cartouche from Mastaba 904 at Saqqara.

From his reign onwards, the former was written in a cartouche preceded by the "Son of Ra" epithet. His rule witnessed continuing trade relations with Nubia to the south and possibly with Byblos on the Levantine coast to the north. Neferirkare started a pyramid for himself in the royal necropolis of Abusir, called Ba-Neferirkare meaning "Neferirkare is a Ba". It was initially planned to be a step pyramid, a form which had not been employed since the days of the Third Dynasty circa 120 years earlier.

The reign of Neferirkare Kakai saw the last important modification to the titulary of pharaohs. He was the earliest pharaoh to separate the nswt- bjtj ("King of Upper and Lower Egypt") and Z3-Rˁ ("Son of Ra") epithets of the royal titulary. He associated these two epithets with two different, independent names: the prenomen and nomen, respectively. The prenomen or throne name, taken by the new king as he ascended the throne, was written in a cartouche immediately after the bee and sedge signs for nswt-bjtj.

Following his hypothesis, Borchardt reads Huni's cartouche name as Niswt Hw ("king Hu").Ludwig Borchardt: König Hu. In: Zeitschrift für Ägyptische Sprache und Altertumskunde (ZÄS); 46th edition, Berlin/Cairo 1909, p. 12. However, Hans Gödicke instead reads Ny Swteh ("He who belongs to the smiters") and is convinced that Huni's name was theophoric. In particular, he compares Huni's name construction with those of the kings Nynetjer ("He who belongs to the deified of Horus") and Nyuserre ("He who belongs to those of power of Re").

The Horus name of Huni is unknown. There are several theories to connect the cartouche name "Huni" with contemporary Horus names. In the late 1960s, the Louvre Museum bought a stele showing a king whose Horus name is Horus-Qahedjet ("the crown of Horus is raised"). For stylistical reasons the stele may be dated to the late Third Dynasty and it seems possible that it refers to Huni, whose Horus-name it provides.Toby Wilkinson: Early Dynastic Egypt, Routledge, London/New York 1999, , page 104-105.

Another hint of possible building projects and city foundations under Huni might be hidden in the name of the historical city of Ehnas (today better known as Heracleopolis Magna). Wolfgang Helck points out, that the Old Kingdom name of this city was Nenj-niswt and that this name was written with exactly the same hieroglyphs as the cartouche name of Huni. Thus, he proposes Huni as the founder of Ehnas. Additionally, the tomb inscription of Metjen mentions a mortuary domain in the nome of Letopolis.

Elaborate single-storey entrance bays flank the towers, with chamfered arches, ornate mouldings, Ionic columns and a cornice. Above the frieze is a scroll-moulded cartouche which is framed by the upper sections of the columns. Inside, much of Frank Matcham's original work remains, and the design is considered to be one of his finest and to display "his hallmark decorative richness". A narrow foyer leads to an auditorium shaped like a horseshoe, with seats arranged in a circle around it and in front of the stage.

Mentuhotep was possibly a local Egyptian nomarch at Thebes during the early first intermediate period, ca. 2135 BC. The Karnak king list found in the Festival Hall of Thutmose III preserves, in position No. 12, the partial name "Men-" in a royal cartouche, distinct from those of Mentuhotep II (No. 29) or Mentuhotep III (No. 30). The available fragments of the Karnak list do not seem to represent past pharaohs in any chronological order, and thus one cannot ascertain if or when this "Men-" pharaoh lived.

He then became a television and cinema actor, and also worked as director. After some supporting roles in Cartouche, Captain Fracasse and in Marvelous Angelique, Rochefort played his first big role with Annie Girardot as his wife and Claude Jade as his daughter in Hearth Fires in 1972. In this drama, he starred as a man who leaves his family for ten years before returning. In this film he played with 41 years a family father of adult children (the young Claude Jade was already 23).

Another subject of interest is Akhetaa's title "God's servant in the temple of king Nebka". Nebka's name appears in a royal cartouche, a practice that is otherwise only known from the reign of king Huni onwards. Thus, it is possible that Akhetaa worked under this king or slightly earlier. It is unclear whether Akhetaa served a priestly role in the cult of a living king or in a funerary cult, a precision that would determine Nebka's uncertain chronology as an early or late third Dynasty king.

Six of the examples are from Tutankhamun, including a white Alabaster Chest-(Cairo JE 61762), with hieroglyphs down the top center and an end text of three vertical columns. Three cartouches and a horizontal register adorn the box's end text. The horizontal text-(below the cartouches), uses three hieroglyphs that can elucidate a meaning for a hieroglyph block from the scarab artifact, The lion hunts of Amenhotep III during the first ten years of his reign. It is an addition below Ankhesenamun cartouche, a wife of Tutankamun.

Due to financial shortage during the construction, initial plans were modified, cutting out architectural decoration items such as dormers, a middle tower, reliefs and adorned cartouche. The orphanage on a 1914 map, outside city's limits The official opening of the House of Orphans () took place on June 14, 1914. It was designed to host 17 girls and 33 boys, as well as the family of the caretaker in a separate apartment. In addition were built an adjacent sport hall and ancillary areas as a separate building.

The third zone is defined by the entablature, including a blank frieze surmounted by a heavy dentil molding, projecting cornice, and balustraded parapet, composed of alternating balusters with raised panels. A large festooned cartouche at the parapet is a crowning feature of the central bay's vertical axis. Refined Beaux-Arts embellishments accentuate the facade's key features. The main entrance is prominently centered and framed by a segmental arch bedecked by a keystone and festooned swags, and banded pilasters, which support an "audience balcony" above.

Immediately above the entrance are doubled tapering pilasters flanking a three-light window, all surmounted by a large cartouche decorated with strapwork. On the first floor of the central bay is a triple-mullion window, and above the parapet is a coat of arms. Flanking the centrepiece are two bays with diapered brickwork and single-mullion windows. The two ends of the south face are also set forward; they have canted, triple- mullion bay windows and are surmounted above the parapet by shaped gables with attic windows.

Robinson–Gardner Building, also known as the Robinson Brothers Building, is a historic commercial building located at Gastonia, Gaston County, North Carolina. It was built in 1899, and is a two-story, three bay, brick building with Renaissance Revival style design elements. The second story of the front facade features a round arch with a decorative cartouche at the keystone position and terra cotta swirls at the bases. Within the arch is a pressed metal swag between a pair of ribboned wreaths pierced by vertical torches.

A two- story architrave was beneath the arch, with an engraved cartouche reading "Singer" at the center. The upper part of the arch had a fanlight with five vertical mullions, below which was a bronze grille measuring wide and tall. As a result of the modifications, the first three stories were faced with rusticated North River bluestone. Four stories were added between the 7th floor and the three-story roof during that time, and the Broadway facade was expanded from two bays to five.

Aidan Dodson instead sees a sitting Seth-animal and therefore reads the name found in the pyramid as Seth-Ka ("Seth is my Ka"). He believes that the pyramid was planned as the tomb of prince Setka, another son of king Djedefre. Dodson doubts the reading "Baka" and wonders why the cartouche name at Zawyet El Aryan contains no sun-hieroglyph when it was meant to be addressed to the sun god.Aidan Dodson: On the date of the unfinished pyramid of Zawyet el-Aryan.

An example of a tapestry in the series is the Allegory of Music (Hermitage Museum). In the centre of the upper border of this tapestry is a cartouche with the inscription: Artes Deprifit bellum agvibus sustinatus ("War oppresses the arts which support it"), also designed by Cornelis Schut. The cartoons were woven repeatedly in Bruges between 1655-1675.Thomas P. Campbell, Pascal-François Bertrand, Jeri Bapasola, Tapestry in the Baroque: Threads of Splendor, Metropolitan Museum of Art (New York, N.Y.), Metropolitan Museum of Art, 2007, p.

Sculptural cartouche with garland, possibly a self-portrait Abraham BrueghelAlternative spellings of his family name: Breugel, Breughel, Briegel, Bruegel; also called: 'Brueghel, il Napolitano' and nickname: 'Rijngraaf' or 'Ringraaf' (baptised 28 November 1631 – c. 1690) was a Flemish painter from the famous Brueghel family of artists. He emigrated at a young age to Italy where he played an important role in the development of the style of decorative Baroque still lifes.John T. Spike, Italian still life paintings from three centuries, National Academy of Design (U.

Black granite, seated statue of Sennefer with cartouche of Amenhotep (Amenophis) II on right arm. From the temple of Seth at Naqqada, Egypt. The Petrie Museum of Egyptian Archaeology, London A stela from this pharaoh's final years highlights his openly contemptuous attitude towards non-Egyptians. The document, which dates to "Year 23 IV Akhet [day] 1, the day of the festival" of Amenhotep II's accession to power, is a copy of a personal letter which the king composed himself to Usersatet, his viceroy of Kush (Nubia).

Their shrine is named as Stata Mater, probably after a nearby statue of that goddess. Given their slave status, their powers are debatable but they clearly constitute an official body. Their inscribed names, and those of their owners, are contained within an oak-wreath cartouche. The oak-leaf chaplet was voted to Augustus as "saviour" of Rome;The oak was sacred to Jupiter and the award of an oak leaf chaplet was reserved for those who had saved the life of a fellow-citizen.

One of the relief fragments shows the cartouche of Khufu with the phrase: "Building of the sanctuaries of the gods". Another one shows a row of fat oxen decorated with flowers – they were obviously prepared as sacrifices during an offering procession. The guiding inscription calls them "the surroundings of Tefef serve Khufu", "beautiful bulls of Khufu" and "bawling for Khufu".Metropolitan Museum of Art, Royal Ontario Museum: Egyptian Art in the Age of the Pyramids. Metropolitan Museum of Art, New York (US) 1999, , p.223.

Unlike the other retail buildings' three-glass-door entrances, the palazzo only contains two bronze doors at its entrance. The entrance cartouche originally depicted the Crown of Savoy and a Fascist symbol, but these too were removed in 1941, never to be replaced. Also modified during the war were Leo Lentelli's limestone bas-reliefs on the cornice, which depicted four periods of Italian history. Lee Lawrie's work were the only original artworks on the Palazzo dItalia's exterior that were not modified during the war.

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.

Cartouche of Sobekhotep IV. While Sobekhotep IV was one of the most powerful 13th dynasty rulers and his control over Memphis, Middle Egypt and Thebes is well attested by historical records, it is believed that he did not rule over a united Egypt. According to the egyptologist Kim Ryholt, the 14th Dynasty was already in control of the eastern Nile Delta at the time.K.S.B. Ryholt: The Political Situation in Egypt during the Second Intermediate Period, c.1800-1550 BC, Carsten Niebuhr Institute Publications, vol. 20.

His wife, Roxanne Farmer, and son Silas Farmer later issued additional revisions until 1874. All editions after the 3rd were labeled as the "23rd edition," though the year often varied in the cartouche, which caused some confusion among map collectors and historians. In 1826 Farmer married Roxanne Hamilton, also of Halfmoon, NY, and had three children, Silas, John, and Esther. Upon Farmer's death on March 24, 1859, Roxanne took over the business as produced several maps, then was succeeded by their oldest son Silas.

Other special finds come from the side-rooms of the sanctuary, which yielded a treasure trove of gold, silver, and bronze objects, including a gold cobra (a uraeus), and a unique assemblage of ivories with cultic connotations. The ivories include a depiction of a woman, perhaps a royal personage; a knob bearing the cartouche of the 12th century Pharaoh Ramses VIII; a large head, probably from the top of a harp; and a large object with a male figure on the front, the image of a royal female personage on the side, and a cartouche of the 13th century Pharaoh Merneptah on the back. The buildings of the elite zone also produced 16 short inscriptions including kdš l’šrt ("dedicated to [the goddess] Asherat"), lmqm ("for the shrine"), and the letter tet with three horizontal lines below it (probably indicating 30 units of produce set aside for tithing), and silver hoards. The entire Iron II city was destroyed in a violent conflagration during the 604 BCE campaign of the Neo-Babylonian King Nebuchadnezzar II, after which the site was only partially and briefly resettled in the first quarter of the 6th century.

South gave orders that his ashes should rest near those of Richard Busby. At the south wall of the sanctuary stands a large monument of white marble with a reclining figure, right arm on a cushion, and hand on a skull, and a closed book in the left. The background is framed by two fluted Corinthian column, on either side of an inscription tablet, surmounted by a glory, and two cherubs on drapery. On the cornice is an armorial cartouche decorated with floral festoons, between two flaming urns.

He is gesturing with his right arm, with a cloak over his left arm and his left hand resting on the hilt of his sword. He is commonly interpreted to be petitioning the French National Assembly to assist the revolutionary Americans. Before the south face of the pedestal is seated a draped female figure cast in bronze, symbolizing America, turning to seek aid from the Marquis and offering him a sword. A cartouche on the pedestal bears the inscription: "TO / GENERAL / LA FAYETTE / AND HIS / COMPATRIOTS / 1777–1783 / DERVILLE FARBRE".

In 1955 the building doubled in size with the opening of a "Texas-size" major addition along Main between St Paul and Harwood designed by Thomas, Jameson & Merrill. This addition matched the original building in height, depth and building materials, although the façade was windowless and featured a large cartouche and prominent signage. The addition also boasted the first complete escalator service for a building of its size in the Southwest and the largest plate glass windows at street level. The expanded department store boasted three restaurants, a bakery and a 1,600-seat public auditorium.

Engraving from Lauritz de Thurah's Hafnia Hodierna, 1748 The church is built in red brick and designed in the Dutch Baroque style. It has a rectangular floor plan with a slightly progressing median risalit on the facade toward Gothersgade, decorated with Ionic pilasters and a triangular pediment. Above the entrance there is a cartouche with the monograms of Christian V and Charlotte Amalie and an inscription from Isaiah 2.3. The hipped roof with black tiles is topped by a copper-clad flèche with two lanterns which rises 13.5 metres above the roof.

The Candoro Marble Works showroom is a two-story building with a marble veneer exterior completed in 1923. Architect Charles I. Barber of the firm Barber & McMurry designed the building primarily in the Beaux-Arts style, and Albert Milani executed the marble detailing. The building's facade features a hand-carved cartouche and floral motif and a wrought-iron door crafted by Philadelphia master blacksmith Samuel Yellin (1885-1940). The showroom's interior includes an entrance hall with polished travertine and frescoed plaster walls and a hand-carved marble rosette.

Marlborough Building, also known as Marlborough Hotel, State Bank of Binghamton, State Hotel, and Marble Grill, is a historic building located at Binghamton in Broome County, New York. It was built in 1914 and is a three- story, five bay commercial building with a one-story addition and upper level stacked porches projecting from the rear. The front facade features a stepped parapet with a cast cartouche ornamented with foliage flanked by decorative cast stone foliage. It was built as a hotel and housed a bank on its first floor until 1930.

Oxford University Press. 2000. Because of her position as regent for her son, some speculate that she started the Valley of the Kings. Ahmose-Nefertari is shown to be alive during the early years of the reign of Thutmose I. She is depicted in Nubia next to the Viceroy of Kush Ahmose called Turo in the company of the newly crowned king and Queen Ahmose. A vase fragment found in KV20 was inscribed with the double cartouche of king Tuthmose I and Ahmose-Nefertari and the epithet indicates the queen was alive.

Mentuhotep II subsequently dispatched his armies to the north. The famous tomb of the warriors at Deir el-Bahari discovered in the 1920s, contained the linen-wrapped, unmummified bodies of 60 soldiers all killed in battle, their shroud bearing Mentuhotep II's cartouche. Due to its proximity to the Theban royal tombs, the tomb of the warriors is believed to be that of heroes who died during the conflict between Mentuhotep II and his foes to the north.Callender, In: Ian Shaw (edit.), Oxford History of Ancient Egypt, p. 140.

In non-alphabetic scripts proper names are sometimes marked by other means. In Egyptian hieroglyphs, parts of a royal name were enclosed in a cartouche: an oval with a line at one end. In Chinese script, a proper name mark (a kind of underline) has sometimes been used to indicate a proper name. In the standard Pinyin system of romanization for Mandarin Chinese, capitalization is used to mark proper names, with some complexities because of different Chinese classifications of nominal types, and even different notions of such broad categories as word and phrase.

According to Gloria Estefan in an interview in the Netherlands television show RTL Late Night,Fragment on YouTube Conga was written after the band had performed "Dr. Beat" in a club called Cartouche in Utrecht, the Netherlands. The single was released in 1985 (see 1985 in music) and became a worldwide hit, reaching #10 on the U.S. Billboard Hot 100 and winning the Grand Prize at the 15th annual "Tokyo Music Festival" in Japan. The single was certified Gold by the RIAA in the U.S. for shipments of 500,000 copies.

The central portal has double, panelled doors, fanlight, and large open segmental pediment supported on large consoles. The tympanum has a cartouche bearing the Salt family coat of arms, flanked by the carved figures of Art and Science by Thomas Milnes. At basement level, the windows are square-headed, while at ground and first floor level the windows are round- arched and archivolted, the first floor windows being framed by fluted Corinthian colonnettes, and with carved head keystones and blind balustrade with turned balusters. There is a dentilled cornice between the ground and first floors.

A number of timber, multi-paned casement windows and fanlights survive although many others have been replaced with aluminium framed windows in order to accommodate air conditioners. The main entrance is located to one side of the central section and has a concrete awning with recent automatic door. An ornate, arched doorway recessed into the wall is found at the western end of the Wickham Terrace facade. The door itself has five raised horizontal timber panels with an arched timber fanlight and is richly ornamented with a cartouche above the fanlight.

193 Henuttaneb was the second or third daughter, born either before or after Iset, who became queen in Year 34. Henuttaneb is nowhere mentioned as a queen, but on this colossus she is described as "the companion of Horus, who is in his heart". This is the only instance of this queenly title being given to a princess, and her name is sometimes written in a cartouche, which may indicate that she was elevated to queen like Sitamun and Iset.Dorothea Arnold, Metropolitan Museum of Art: Royal Women of Amarna, p.

Kunisada II usually signed prints either 国貞画 (Kunisada ga, drawn by Kunisada) or 国貞筆 (Kunisada hitsu, from the brush of Kunisada). He did not sign prints “Kunisada II”. His signature may be distinguished from that of Kunisada I in that the sada kanji is straight in the signature of Kunisada I, but angular in the signature of Kunisada II (see figure). Further, Kunisada I took the name 'Toyokuni' in 1844, and never included the 'Kunisada' signature within the Toshidama cartouche, as Kunisada II often does in the 1850s and 1860s.

Mentuhotep's wife might have been Neferu I and the statue from Heqaib may be interpreted to show that he was the father of Intef I and II. The Karnak king list has apparently one non-royal personage (without cartouche), named Intef, in position no. 13. This could possibly refer to Intef the elder, son of Iku, a Theban nomarch loyal to the Herakleopolitan kings in the early first intermediate period. However, the kings on the remaining fragments are not listed in chronological order, so this is not at all certain.

Seal impression from Beit Khallaf showing Sanakht's serekh together with what could be a cartouche of Nebka. Nebka's identity with respect to other Third Dynasty rulers is now partially settled. Most scholars including Thomas Schneider, Darell Baker, Peter Clayton, Michel Baud, Jaromír Málek, Toby Wilkinson, Kenneth Anderson Kitchen, Stephan Seidlmayer, Michael Rice, Donald Leprohon and Rainer Stadelmann are convinced that Nebka was identical with Hor-Sanakht. This opinion is based on a single fragmentary clay seal discovered by Garstand in 1902 in Beit Khallaf, a locality north of Abydos.

Sacred scarab in a cartouche of Thutmosis III from Karnak temple of Amun-Ra, Egypt Scarabs are stout-bodied beetles, many with bright metallic colours, measuring between 1.5 and 160 mm. They have distinctive, clubbed antennae composed of plates called lamellae that can be compressed into a ball or fanned out like leaves to sense odours. The front legs of many species are broad and adapted for digging. In some groups males (and sometimes females) have prominent horns on the head and/or pronotum to fight over mates or resources.

The capitals of each of the 44 columns are decorated with carved heads depicting Hermes/Mercury, the Greek/Roman god of commerce. The windows on the main facade are topped by eight carved keystones, which contain carved heads with depictions of eight human races, namely "Caucasian, Hindu, Latin, Celt and Mongol, Italian, African, Eskimo, and even the Coureur de Bois". Carved under the main entrance arch are the municipal arms of the city of New York. A cartouche of the United States' coat of arms, by Bitter, was commissioned for the roof.

Only a few works by Bosman are recorded. He was a close follower of his presumed master Daniel Seghers. A study comparing the painting techniques used by both artists in two paintings disclosed the similarity in their techniques and the materials they used.Anne Haack Christensen, Erma Hermens, Hannah Tempest,, A Master and his Pupil: the painting techniques of Daniël Seghers and Andries Bosman Cartouche with the Christ Child surrounded by a flower garland Some of Bosman's works have been confounded with those of Seghers because of the signature "DS" on some works of Bosman.

Prior to the rediscovery of several blocks referring to him in the Dakhla Oasis, the existence of this shadowy rebel ruler was confirmed by inscriptions found on two seals and one scarab that bear his name written in a royal form inside a cartouche. His figure appears on a door jamb once covered in gold leaf, now at the Louvre Museum, and on a wooden panel now in Bologna (KS 289). There also exists a document that has been dated to 522 BC, which was the first year of his reign.

This is further reinforced by the discovery of Sahure's cartouche in the mortuary temple of Userkaf at Saqqara, indicating that Sahure finished the structure started most probably by his father. This contradicts older, alternative theories according to which Sahure was the son of queen Khentkaus I, believed to be the wife of the last pharaoh of the preceding Fourth Dynasty, Shepseskaf and a brother to either Userkaf or Neferirkare. alt=Large figure of a king standing and holding a staff. On the left, two rows of small figures with hieroglyphs detailing their names.

In this case, Ini would have been a Nubian vassal in Thebes. Evidence to this effect includes the name of king Ini’s daughter, Mutirdis (TT410), and the style of Louvre stela C100 which Kenneth Kitchen long ago noticed should be dated to the early 25th Nubian Dynasty period. However, all three of Ini's nomen cartouche on his Louvre C100 stela were erased and his figure was partly damaged which may imply that Piye’s successor Shabaka removed Ini from power and carried out a damnatio memoriae campaign against his monuments.

The same treatment continues on the east and south although the north elevation is not articulated. The south elevation, facing the Spanish Stairs, is five bays wide. At each end bay there is a rectangular opening in place of the round arched window; an oeil-de-boeuf executed as a cartouche appears above these openings. The balance of the windows are treated as on the Broadway elevation although balconets of several styles are provided the windows on the south and east that correspond to the street level window level on the west.

Cartouche of king Ptolemy XII (room E3) in the Athribis temple The period of building and decoration in the temple spans more than 200 years. Ptolemy XII (ruled 81-58 and 55-51 BC), one of the last kings of the Ptolemaic dynasty and father of Cleopatra VII, built the 75m by 45m temple and decorated the interior rooms.V. Altmann, in: Athribis I, p. 198-211. The decoration of outer walls and pillars surrounding this however date to the reigns of Tiberius (14-37 AD), Caligula (37-41 AD) and Claudius (41-54 AD).

The Petrie Museum of Egyptian Archaeology, London Limestone slab showing the cartouche of Senusret II and name and image of goddess Nekhbet. From Mastaba 4, north side of Senusret II Pyramid at Lahun, Egypt. The Petrie Museum of Egyptian Archaeology, London It was announced by the Supreme Council of Antiquities on 26 April 2009 that an anthology of pharaonic-era mummies in vividly painted wooden coffins were uncovered near the Lahun pyramid in Egypt. The sarcophagi were decorated with bright hues of green, red and white bearing images of their occupants.

During this restoration, a gate from the sacristy was placed on the inner wall of the choir. In addition, a cartouche with the text En Salicht Leiden ("and bless Leiden"), originally from Leiden's town hall (which was destroyed by fire in 1929), was placed into the eastern outer wall. Despite the restoration, the church ruins deteriorated into a hangout spot for the local youth, leaving the remains covered in graffiti and soiled with urine. In the 1990s, the city commission on monuments therefore recommended that the remains be removed and replaced with new buildings.

Cartouche still life of flowers around an image of Caritas Caproens painted flower and fruit still lifes, garland paintings and banquet still lifes. Caproens' signature has been found on at least three large flower and fruit still lifes, which are clearly inspired by Flemish still life painting. His banquet style still lifes depicting food and tableware placed on a table also show the influence of Jan Davidszoon de Heem, a Dutch still life painter who was active in Antwerp from the mid-1630s. Caproens produced a number of compositions in the genre of 'garland paintings'.

The door architrave consists of brick pilasters with cast concrete bases and pressed metal Ionic capitals and a segmental pediment also of pressed metal. The second story window surround continues the classic effect with a triangular pediment supported by brackets over two double hung windows, since replaced by a fixed, four pane window imitating the original. Above this pediment is a rectangular cast concrete cartouche bearing the name "SEARS". The second entrance is centered on the east facade and bears many of the same features: pressed metal pediments, etc.

The first story is faced with pale terra cotta and is topped by a belt course that encircles the building. Bricks on the second and third stories are laid in a pattern called Flemish bond that consists of alternating headers and stretchers. Many of the decorative components of the building are executed in terra cotta and include the quoins, the elaborate entablature that tops the building, the roof balustrade, and the central cartouche (scrolled, oval ornament). An eagle ornament above the main entrance expresses the federal presence in Butte.

The former Emery School building is located south of Biddeford's main business district, on a lot bounded by Hill, Birch, and Summer Streets. It is a two-story brick structure, trimmed in cast stone and granite, facing south toward Birch Street, separated by a paved parking area. The main facade is symmetrically arranged, nine bays wide, with two slightly-projecting entrance pavilions set one bay in from the ends. These pavilions are framed by rusticated brick pilasters with a stone cartouche at the top of the second floor.

The monumental main entrance, leading through an arcade to the interior courtyard, is a Palladian motif consisting of a central molded arch, with a keystone ornamented with a cartouche, rising from an interrupted entablature which is supported by pinkish polished granite columns of composite order and pilasters with entasis. A pair of large central ornamental wrought-iron gates is flanked by smaller gates. The spandrels carry inset granite roundels. The entrance is flanked by round-arched first-story windows with molded surrounds and keystones and second-story rectangular windows with surrounds.

The Stanley St frontage has paired windows to the ground floor either side of a set of three windows surmounted by the central feature of the elevation; an arch with dentils over small cartouches around a large, elaborate cartouche bearing the words POST & TELEGRAPH OFFICE. The more recently added metal WOOLLOONGABBA POST OFFICE, also appears on the Stanley St elevation. The loggia above has brick spandrels and columns with rounded cement capitals. The openings to the Hubert St elevations have dentils to the ground floor, and single scrolled brackets and sills to the first floor.

It gives both a sense of motion and also a dramatic new way of reflecting light. The cartouche was another characteristic feature of Baroque decoration. These were large plaques carved of marble or stone, usually oval and with a rounded surface, which carried images or text in gilded letters, and were placed as interior decoration or above the doorways of buildings, delivering messages to those below. They showed a wide variety of invention, and were found in all types of buildings, from cathedrals and palaces to small chapels.

The first sign can be identified as a Ka-sign, but the first (and former) sign was copied by the pyramid excavator so fuzzy, that it remains undecipherable. According to Stadelmann and Reisner, the first sign shows a walking ram, as it does in the birth name of the prince. Baka simply put his citizen name into a royal cartouche due his lifetime, but then the name was changed after his death into Bakarê ("soul and Ka of Râ"). In ancient Greek chronics Baka's name was hellenized into Bikheris.

This door is underneath an entablature with a rounded sign reading "" Additional entrances were on the building's western end, originally leading to the elevator lobby. The entrance on Pearl Street, which was formerly located under the Third Avenue elevated line, is more simply designed and contains revolving doors under a canopy. The entrance at Beaver Street has a pediment with carvings of beavers framing a cartouche with the words "". The other windows on the first story are generally double-height windows, indicating the presence of the mezzanine inside.

Evidence has suggested that their construction dates from at least the Middle Kingdom, as foundation deposits were uncovered. The original structures were buried, added to, or incorporated into later ones over time by later rulers. Billy Morin, recently at University of Cambridge in England and now at Leiden University in the Netherlands led a team that investigated these further and uncovered several mud-brick walls acting as pylons and their foundations. Over thirty of the bricks were stamped with the cartouche of Menkheperre, the pre-nomen of Thutmose III.

The ruins of Medinet Maadi temple Amenemhat III's cartouche at Medinet Maadi temple Medinet Madi is a site in the southwestern Faiyum region of Egypt with the remains of a Greco-Roman town where a temple of the cobra-goddess Renenutet (a harvest deity) was founded during the reigns of Amenemhat III and Amenemhat IV (1855–1799 BC). It was later expanded and embellished during the Greco-Roman period. In the Middle Kingdom the town was called Dja, in the Ptolemaic and Roman Periods it was called Narmuthis.

Limestone cornices top both stories of the building, and a cartouche bordered by scrolls sat on the roofline above the central front window. In 1938-39, the Elks sold the building to a group of local businessmen. The businessmen then leased the building to the Shell Oil Company, and the building became known as the Petroleum Building; around this time, a bowling alley opened in the basement. In 1946, the Centralia chapter of the Veterans of Foreign Wars purchased the building and used the second floor as a meeting hall.

Claude Terrasse, better known for his operettas (Monsieur de la Palisse, Le mariage de Télémaque, and Cartouche) rather than for his activities as a liturgical organist, succeeded him, a peculiar choice. Upon the completion of the new Cavaillé-Coll grand organ, Charles-Alexis Chauvet was awarded the post of organiste titulaire, which he held for only three years. And, upon Chauvet's untimely death in 1871, his post of was awarded to Alexandre Guilmant. Replacing Guilmant at the grand organ during the latter's concert tours in the United States.

F44, p. 238. and swt, for the tibia.Kamrin, 2004. F44, p. 238. Slab stela of Nefertiabet, with proto-typical form: as a meat section (spare rib-2 curved bones) The Old Kingdom usage on slab steles, from the middle of the 3rd millennium BC, shows the proto-type form of the hieroglyph as a 'cut of meat', much like the spare ribs or beef ribs of the present era. The slab stela shows the bone as a multiple of two curved bones, much like the spare rib. Cartouche relief, Temple of Edfu.

In this picture, Bellini represented the traditional theme of Mary and Child Jesus as busts in the foreground, above a hanging tapestry resembling the thrones with baldachin which were commons in the contemporary sacred conversations. At the sides is a landscape with towers, castles and small figures, as typical in the artist's production. In the foreground is a red marble parapet where is the usual cartouche with Bellini's signature. There is also a fruit, perhaps a reference to the original sin, or an emblem of the Virgin derived from holy books or hymns.

1610 – 1650). One of his younger sons, Nicholas Culme, had a daughter Anne Culme who was the third wife of the highly influential Sir John Doddridge (1555–1628), Justice of the King's Bench and Member of Parliament, whose second wife had been Dorothy Bampfield, a daughter of Sir Amyas Bampfylde (died 1626). His monument with reclining effigy is situated in the Lady Chapel of Exeter Cathedral and displays on a cartouche his own arms impaled with Culme. Next to it is a separate monument with effigy of Dorothy Bampfield.

Teos, cartouche fragment Unfortunately for Teos, his brother Tjahapimu was plotting against him. Taking advantage of Teos' unpopularity, and with the support of the priestly classes, Tjahapimu convinced his son Nakhthorheb to rebel against Teos and to make himself pharaoh. Nakhthorheb persuaded Agesilaus to join his side by taking advantage of the several disagreements that had arisen between the Spartan king and the pharaoh. Nakhthorheb was acclaimed pharaoh – better known today as Nectanebo II – and the betrayed Teos had no alternative but to flee to Susa, the court of his enemies.

Another example of a collaborative painting made by Teniers is the composition The Soap Bubbles (c. 1660–1670, Louvre). In this work Teniers collaborated again with his nephew Jan van Kessel the Elder who painted a decorative garland representing the four elements around a cartouche showing a young man blowing soap bubbles, which was painted by Teniers. The young man blowing bubbles and the elements in the garland surrounding him such as the flowers, the dead fish and the armor and flags are all references to the theme of vanitas, i.e.

Sanakht (also read as Hor-Sanakht) is the Horus name of an ancient Egyptian king (pharaoh) of the Third Dynasty during the Old Kingdom. His chronological position is highly uncertain (though he is more likely to have reigned towards the end of the dynasty), and it is also unclear under which Hellenized name the ancient historian Manetho could have listed him. Many Egyptologists connect Sanakht with the Ramesside cartouche name Nebka. However, this remains disputed because no further royal title of that king has ever been found; either in contemporary source or later ones.

No data will indicate that the names are listed in literature but no datable artwork has yet been found. The list also includes the names of several female artists; their names are specially marked. In general they were daughters who were taught to draw by their fathers, and were occasionally allowed to design cartouche images for their fathers' works, which they then signed with her own names. This list is not totally complete: artists of the fifth generation are only partially listed, and artists of the sixth generation are omitted entirely.

Djedefre (also known as Djedefra and Radjedef – Modern Greek: Ρετζεντέφ) was an ancient Egyptian king (pharaoh) of the 4th Dynasty during the Old Kingdom. He is well known by the Hellenized form of his name Rhatoisēs (Ῥατοίσης) by Manetho. Djedefre was the son and immediate throne successor of Khufu, the builder of the Great Pyramid of Giza; his mother is not known for certain. He is the king who introduced the royal title Sa-Rê (meaning “Son of Ra”) and the first to connect his cartouche name with the sun god Ra.

Statue of Hotepdief, priest of the mortuary cults of the first 3 rulers of the dynasty, Hotepsekhemwy, Nebra and Nynetjer. The serekh of Nebra is the middle one on the shoulder of the priest. King Nebra is commonly identified with the Ramesside-era cartouche-name Kakau, which can be translated as "The bull of Apis". This links to the anecdote written by Manetho, who said that under king Kêchoós (the Greek version of the name Kakau) the deities Apies, the goat of Mendes and Menevus were "introduced and worshipped as gods".

The reason for the confusion was differences between the royal names presented by the ancient historian Manetho and the Ramesside king lists, such as the Abydos King List, the Saqqara Table and the Turin Canon. Whilst Manetho referred to the nomen, the Ramesside king lists used the prenomen. Another reason is that many rulers of later periods used the cartouche versions of their nomen and prenomen separately in different inscriptions. Only in inscriptions that depict both names side by side is it obvious that the two names belong to the same king.

The two-story front entrance is divided into sections by four pairs of Ionic columns; three large arched windows decorated with muntin and topped by keystones decorate the three main sections. The entrance, located at what would be the bottom of the middle window, features iron grilles on its windows and transom and is topped by a cartouche. A frieze with ornamental medallions and a dentillated cornice surround the building above its second story. . The courthouse was added to the National Register of Historic Places on May 28, 1976.

On the afternoon of March 3, a rider galloped into the American camp, warning of the British approach. While the exact amount of time they had to deploy is uncertain, the relatively hurried nature of their deployment was clear. The number of troops that actually formed up was about 900, as a number of troops had been dispatched to the south for scouting, and others were on duty at the burned-out bridge. Distribution of ammunition to the men was complicated by the shortage of cartouche boxes and varying musket calibers.

Visual journalism is not a series of symbols with precise meanings but rather images that suggest complex meanings and, in the Egyptian tradition of the cartouche, contain words. The symbols do not simply represent but participate in the meaning and, in combination with evocative phrases, are designed to provoke creative thinking. Visual language is one tool described by author Daniel Pink in his book A Whole New Mind for the emerging "conceptual age" where people must tolerate ambiguity and communicate quickly, often before concepts are ready to be captured in traditional writing.

Begeer of Utrecht in Holland, now known as Naamlooze Vennootschap Atelier voor Edelsmeed- en Penningkunst voorheen Koninklijke Begeer, Voorschoten. Reverse of the medal ;Obverse The obverse has the coat of arms of the Zuid Afrikaansche Republiek, with the inscription "ZUID AFRIKAANSCHE REPUBLIEK" around the perimeter at the bottom. ;Reverse The reverse has, in the centre, a pearl-rimmed cartouche inscribed "JOHANNESBURG VRIJWILLIGER CORPS" on a decorative background, surrounded by two laurel branches. The upper perimeter is inscribed "COMMANDANT V.H. CORPS LUITNT KOL: S. H. VAN DIGGELEN", and at the bottom the years "1894-1899".

Thames & Hudson. 1997. (Reprint) The walls of the burial chamber are decorated with extracts from the Book of the Earth. In terms of style and themes it closely follows that of its immediate predecessor, Ramesses VI's KV9, though the ceiling within the burial chamber contain a double image of the sky goddess Nut, reflecting a style used in tomb paintings used by pharaohs of the previous dynasty. Within the burial chamber a depression has been cut into the rock, with an inverted box of stone shaped roughly like a cartouche placed over it.

Khufu's name was dedicated to the god Khnum, which might point to an increase of Khnum's popularity and religious importance. In fact, several royal and religious titles introduced at this time may point out that Egyptian pharaohs sought to accentuate their divine origin and status by dedicating their official cartouche names to certain deities. Khufu may have viewed himself as a divine creator, a role that was already given to Khnum, the god of creation and growth. As a consequence, the king connected Khnum's name with his own.

The stone portal of the church, brought by José Moreira Leal from Lisbon in 1754, is in an ornate baroque style with a large pediment, volutes, and a niche. The stone cartouche at center of the pediment retains a carving, "Virgem Sm.ᵃ da Lapa e Conceição". The structure has a broad patio at center, which leads to a gallery of rooms for members of the convent community; the convent additionally had meeting rooms, halls, and corridors. The gallery leads to the upper choir, which is reserved for the exclusive use of the community.

Chancellor Bay on the doorjamb of the Amada temple, Nubia, shown adoring the cartouche of Siptah Bay, also called Ramesse Khamenteru (died 1192 BC), was an important Asiatic official in ancient Egypt, who rose to prominence and high office under Seti II Userkheperure Setepenre and later became an influential powerbroker in the closing stages of the 19th Dynasty. He was generally identified with IrsuThe Encyclopedia Americana, Grolier Incorporated 2000, p.28 (alt. Arsu, Iarsu, Yarsu) mentioned in the Great Harris Papyrus,James Henry Breasted, Ancient Records of Egypt, Part Four, § 398.

Over the main door is a cartouche with the sculpted 1888. The main door opens to a small narthex, that corresponds to the perimeter of the tower, that extends to the windbreak. On either side of the narthex is a compartment accessible from the nave: opposite the epistole side is the baptistery and opposite it is winding staircase that leads to the high- choir and belfry. The choir, in wood, occupies the area at the front of the nave (over the windbreak) and is counter curved, protected by a guardrail of balustrades.

Over the sill is a cornice, supported by two half-scrolls that define the skirt, with an incomplete cartouche in their centre. Above this section is the belfry, with an archway on each of the three principal faces, defined by an extension of the stonework that begins at the base. The towers are topped by a cornice and surmounted by a bulbous octagonal cupola over a drum, and surmounted by pinnacle. The doors of the lateral facades are framed by a double lintel and cornice and flanked by pilasters over high, framed pedestals.

The Dream Stele, erected much later by the pharaoh Thutmose IV (1401–1391 or 1397–1388 BC), associates the Sphinx with Khafre. When the stele was discovered, its lines of text were already damaged and incomplete, and only referred to Khaf, not Khafre. An extract was translated: Egyptologist Thomas Young, finding the Khaf hieroglyphs in a damaged cartouche used to surround a royal name, inserted the glyph ra to complete Khafra's name. When the Stele was re-excavated in 1925, the lines of text referring to Khaf flaked off and were destroyed.

Physical, manual and intellectual education were complemented with 19 different workshops which provided them at least one complete formation of a trade occupation (a bakery, printing works, photography, masonry, etc.). These workshops also provided the school a certain financial autonomy. Robin's educational methods, too revolutionary for their time, resulted in his expulsion from Cempuis on August 31, 1894, following a very virulent press campaign waged against him by the Free Word. Octave Mirbeau then took up his defense and denounced the liberticide collusion between Cartouche (the corrupt republican politicians) and Loyola (the retrograde Catholic Church).

The house dates back to the fourteenth or fifteenth century, and was significantly altered twice, in the seventeenth and nineteenth centuries. It was built on land purchased by Sir John Fortescue (c.1394-1479), who was Chief Justice of the King's Bench. An heraldic cartouche above the entrance door displays the arms of Fortescue impaling Aylmer, representing Hugh Fortescue (1665–1719), and his second wife Lucy Aylmer, whom he married after 1708, a daughter of Matthew Aylmer, 1st Baron Aylmer (circa 1650–1720), grandparents of Hugh Fortescue, 1st Earl Fortescue (1753-1841).

Van Houbraken may have become familiar with the garland paintings there. Still life with potted plants and roses, a dog, an apple basket, fennel, and a semi-plucked rooster An example of a garland painting by van Houbraken is the Trompe l'oeil with a marble bas relief representing the Pentecost with flowers (Finarte S.p.A. Old Master Paintings and 19th Century Art sale of 25 November 2019 lot 339). This garland painting shows a garland of flowers around a cartouche which is a trompe l'oeil bas relief representing the Pentecost.

The name Djeseret-Nebti or Djeseret-Ankh-Nebti appears on ivory cloth labels, found in the underground galleries beneath the pyramid of the 3rd Dynasty king (pharaoh) Sekhemkhet at Saqqara. It is written with the common nebti-crest, but not with any personal title that could identify whether the person was a member of Egyptian royalty or that it was even a name. Egyptologists like Toby Wilkinson and Zakaria Goneim read the inscription as Djeser-Ti and identify it with the cartouche- name of the pharaoh Djeser Teti of the Abydos King List.Toby Wilkinson: Early Dynastic Egypt.

Beaumont said her character in The Prowler "finds herself in a very dark place" and that it's her job "to tell my character's story without judgement.". Beaumont won for Best Performance, Toronto Film Festival 2017; Best Shorts California 2017; Madrid Film Festival 2017 Best Lead Actress, nomination. The director of cinematography was BAFTA award-winner James Friend, ASC BSC; sound design by Glenn Freemantle. Beaumont guest-starred on the ITV drama, Endeavour Series V: Episode 2 Cartouche, as the sister-in-law of Detective Thursday (Roger Allam) and the wife of his brother Charlie, played by Phil Daniels.

Carved and inlaid Late Baroque supraporte in Toruń, Poland An "overdoor" (or "Supraporte" as in German, or "sopraporte" as in Italian) is a painting, bas- relief or decorative panel, generally in a horizontal format, that is set, typically within ornamental mouldings, over a door, or was originally intended for this purpose. The overdoor is usually architectural in form, but may take the form of a cartouche in Rococo settings, or it may be little more than a moulded shelf for the placement of ceramic vases, busts or curiosities. An overmantel serves a similar function above a fireplace mantel.OED first citation, 1882.

Amenhotep IV initially introduced Atenism in the fifth year of his reign (1348/1346 BC), raising Aten to the status of supreme god, initially permitting continued worship of the traditional gods. Later Akhenaten forbade the worship of other gods, a radical departure from the centuries of Egyptian religious practice. To emphasise the change, Aten's name was written in the cartouche form normally reserved for Pharaohs, an innovation of Atenism. The religious reformation appears to coincide with the proclamation of a Sed festival, a sort of royal jubilee intended to reinforce the Pharaoh's divine powers of kingship.

Whereas the name of Nodjmet was written in a cartouche, the name of Hrere was not. Since mostly this Nodjmet is seen as the wife of the High Priest Herihor, Herere’s title is often interpreted as “King’s Mother-in-law”,Kitchen, o.c., 44 although her title “who bore the Strong Bull” suggests that she actually must have given birth to a king.Wente, JNES 26 (1967), 173-174 The other Book of the Dead from her tomb can also be found in the British Museum's collection (BM 10541) and is one of the most beautifully illustrated papyri from ancient Egypt.

The ceiling is supported by four columns decorated with candelabra and gilt Corinthian capitals. Above it, four angels hold a cartouche with a tetragram with the notes and the first words of the Gloria. Ghirlandaio painted in the left foreground a series of characters, among which are the donor (dressing in black), and the artist himself, who looks towards the viewer. On the right, in the Magi procession, are three richly donned men, which have been identified as major members of the Arte della Seta (Guild of the Silk Workers), the main financial backer of the Hospital.

Although no buildings survive in Thebes older than portions of the Karnak temple complex that may date from the Middle Kingdom, the lower part of a statue of Pharaoh Nyuserre of the 5th Dynasty has been found in Karnak. Another statue which was dedicated by the 12th Dynasty king Senusret may have been usurped and re-used, since the statue bears a cartouche of Nyuserre on its belt. Since seven rulers of the 4th to 6th Dynasties appear on the Karnak king list, perhaps at the least there was a temple in the Theban area which dated to the Old Kingdom.

Among his notable works in the palace, most worth mentioning are the plafond and frescoes in the (the space between the portal and ceiling) of the palace's vestibule. Moulding which remain in vestibule and partly in the stairwell, also the heads of pilasters or festoons on external elevations made of stucco as well as the armorial cartouche of the façade from the garden side were made by unknown artists under the supervision of Joseph Belloti. The lost paintings in the vestibule destroyed during World War II were painted by Michael Palloni. The interiors were partially finished by 1699.

Like their rivals Biggs Furniture of Richmond, Virginia, Kittinger served an upper middle class market in search of mostly mahogany, reproduction furniture with dovetailed oak drawer lining, frame-and-panel backs and other mark of quality comparable to the originals, in the Queen Anne, Chippendale and Hepplewhite styles. In 1990 the license expired and was granted to Baker Furniture Company. Apart from the Williamsburg reproductions other series were marketed under names evoking the colonial period: Richmond hill Collection,Branded "Richmond Hill Collection by Kittinger" within a cartouche. Old Dominion CollectionIn collaboration with Biggs, Richmond, which became a subsidiary of Kittinger.

The Valley Complex Carl Peters collected a ceramic ushabti in 1905. Flinders Petrie examined it and identified a cartouche on its chest as belonging to the 18th Dynasty Egyptian Pharaoh Thutmose III and suggested that it was a statuette of the king and cited it as proof of commercial ties between rulers in the area and the ancient Egyptians during the New Kingdom (c. 1550 BC–1077 BC), if not a relic of an old Egyptian station near the local gold mines. Johann Heinrich Schäfer later appraised the statuette, and argued that it belonged to a well-known group of forgeries.

The third through eighth floors on this section are rounded, and above the eighth-floor window is a sculpted cartouche. The South William Street side contained the original front doorway for the building, which comprised a door underneath an arch with glass screen. The magazine New York Architect characterized the building as being "the most complete private banking institution in the city", with a form and sculptural elements that provide a maximum "breadth and solidity in the treatment of the exterior." Studio Architetti Valle, along with Fred Liebmann and Jeremy P. Lang Architects, designed an 11-story annex in 1982.

Garland of flowers surrounding a stone cartouche enclosing a bust of the Virgin A portion of van Kessel's output falls into the category of 'garland paintings'. Garland paintings are a type of still life invented in early 17th century Antwerp by Jan Brueghel the Elder and subsequently practised by leading Flemish still life painters, and in particular Daniel Seghers. Paintings in this genre typically show a flower or, less frequently, fruit garland around a devotional image or portrait. In the later development of the genre, the devotional image is replaced by other subjects such as portraits, mythological subjects and allegorical scenes.

Reconstruction of a ritual vase made of sycamore wood with faience and gold inlays showing Neferirkare's cartouche and found in his mortuary temple. Now in the Egyptian Museum of Berlin. Beyond his construction of a pyramid and sun temple, little is known of Neferirkare's activities during his time on the throne. Some events dating to his first and final years of reign are recorded on the surviving fragments of the Palermo stone, a royal annal covering the period from the start of the reign of Menes of the First Dynasty until around the time of Neferirkare's rule.

It is the largest surviving head dating to the Old Kingdom other than that of the Great Sphinx of Giza and the only colossal royal statue from this period. Many more fragments of statues of the king made of diorite, slate and granite but none of limestone have been found at the same site. Some bore Userkaf's cartouche and Horus name. Kozloff notes the youthful features of Userkaf on most of his representations and concludes that if these are good indications of his age, then he might have come to the throne as an adolescent and died in his early twenties.

Bernard, The Emerging City, > p. 33. Among the famous prisoners who spent time in the Châtelet were Clément Marot, who composed his Enfer there; the famous highwayman Cartouche; the poisoner Antoine-François Desrues (1744-1777); and the marquis de Favras. The area around the Châtelet was physically unpleasant as well, due to the smell of drying blood from nearby slaughterhouses and "the effluent of the great sewers that oozed into the Seine between the Pont Notre-Dame and the Pont-au- Change."David Garrioch, The Making of Revolutionary Paris (University of California Press, 2002: ), p. 18.

This phenomenon explains the Italian influence on the English style of woodwork that dominates the mantelpiece. The most frequently occurring decorative elements are found in the wainscoting of the Rotherwas Room. Although the identities of the craftsmen are unknown, the figural carvings on the mantel bear similarity to contemporary works by the Huguenot sculptor Maximilian Colt at Robert Cecil, First Earl of Salisbury's Hatfield House, which dates from the same period. The polychrome engraved mantle of the Rotherwas Room bears a complex arrangement of figural representation and plant motifs, including: guilloche, cartouche motifs, decorative scrolls and foliage, gadroon nulling, and lozenges.

An ancient spell from the Book of the Dead is inscribed in hieroglyphs on the mask's shoulders. The mask had to be restored in 2015 after its plaited beard fell off and was hastily glued back on by museum workers. According to Egyptologist Nicholas Reeves, the mask is "not only the quintessential image from Tutankhamun's tomb, it is perhaps the best-known object from ancient Egypt itself." Since 2001, research has suggested that it may originally have been intended for Queen Neferneferuaten; her royal name (Ankhkheperure) was found in a partly erased cartouche on the inside of the mask.

The fact that no contemporary monument can safely be attributed to a king "Mentuhotep I" has led some Egyptologists to propose that he is a fictional ancestor and founder of the Eleventh dynasty, invented for that purpose during the later part of the dynasty. Karnak king list showing the partial name "Men..." in a cartouche (No. 12). On the base of a statue from the sanctuary of Heqaib on Elephantine, a Mentuhotep is referred to as "Father of the gods".Labib Habachi: "God's fathers and the role they played in the history of the First Intermediate Period", ASAE 55, p. 167ff.

View from a car towards ExCeL View from a car towards The O2 The Emirates Air Line route was introduced onto the London Tube map in June 2012. It is the first to have the sponsoring company's logo shown on the map. Similar to the representation of the Docklands Light Railway, the cable car route is displayed as a triple red stripe rather than a solid line, to distinguish it from London Underground lines. The service's logo is a red cartouche containing the Emirates logo and the TfL roundel, to reflect the corporate sponsorship by the airline.

They produced some powerful eurodance tracks, but also groovy R&B; songs, upbeat happy hardcore tunes and even euroreggae and eurodisco tracks. Behind T-Spoon stands Prince Peration (Dutch Remy de Groot), the group's founder and one of its driving forces. The co-producers were Dominic Sas and Serge Ramaekers (famous for their projects Confetti's and Cartouche). On stage T-Spoon consisted of 4 people: a female vocalist (Ingrid Simons, Jean Shy, Blonde, then Linda Estelle) and a male rapper (Shamrock, replaced in 1998 by Greg Dillard, then in 2001 by King Lover), and the two dancers, Regilio and Anatevka Bos.

St Martin's displays two noteworthy stained glass windows; the first is a grisaille with coloured borders, built in 1855 by Powell. The second is that of the Good Shepherd and Light of the World, built in 1897 by Heaton, Butler and Bayne and installed in the east chancel. Monuments in the church include that of Mary Heyman (died 1601, in 28-inch brass with a damaged head; Ann Papillon (died 1693) and her daughter Ann (died 1694), presented in a cartouche placed above the family pew, and signed by Joseph Helby; and William Turner (died 1729), presented in a long tablet.

St Mary's Church is located at the southern end of Birkin and dates from around 1150. Descriptions of it refer to a number of monuments including a cartouche for the Thornton family, successive generations of which were rectors during the 17th century, and an 18th-century wall monument dedicated to the wife of a rector with an inscription by the Poet Laureate William Whitehead. Thomas Hill Green's father was the rector of St Mary's in the 1830s. In 2008 it was reported that the church had been damaged after the roof was targeted by lead thieves.

Another entrance opens onto a vestibule through which the toilet wing is accessed.. The toilet wings have open air central walkways with skillion awnings over the toilets and change rooms on either side of the walkway. The external walls are generally cavity brick rendered with roughcast stucco and internal walls are of painted single and double brickwork. The asymmetrically arranged east facade features a decorative parapeted gable with loggia of round head arches with edge detailing supported on glazed brick columns which sit on a concrete slab. The gable has edge detailing which integrates a central cartouche-like element.

Parteivolkshalle) in the Royal Castle's place and to replace the Zygmunt's Column with the Germania Monument. A pile of rubble, surmounted by only two fragments of walls that somehow managed to survive, was all that was left of the six-hundred-year-old edifice. On one of these fragments, almost like a symbol, part of the stucco decoration remained. This was a cartouche with the royal version of the motto of the Order of the White Eagle — "PRO FIDE, LEGE ET REGE" (for Faith, Law, and the Nation - literally translated, the last word means a herd).

It is often assumed that he was succeeded as high priest by his brother Djedkhonsuefankh, who served only for a short time and was followed by another brother, Menkheperre. However, the position of Djedkhonsuefankh is not beyond dispute. All we actually know of his existence is the bare mention of his name on the coffin of his son (now lost). There it reads, according to Torr: "[...]re, son of the first prophet of Amun, Djed-Khons-ef-ankh, son of the Lord of the Two Lands, Pinedjem, Beloved of Amun, first prophet of Amun", with the name Pinedjem enclosed in a cartouche.

Pronk still lifes are often interpreted as having a vanitas meaning.Jan Pauwel Gillemans (I), Pronk still life with a view of a landscape to the left, 1645-1650 at the Netherlands Institute for Art History Garland of flowers surrounding a cartouche containing an angel's head and the Holy Sacrament His fruit still lifes of fruit and flowers were typically of a large format. A few were created on a smaller scale and were popular among contemporary collectors as cabinet pieces. An example is the Still life with lemons, grapes, a pipe and filleted fish (At Dorotheum Vienna on 9 April 2014, lot 566).

New Communist authorities took down the royal coat of arms immediately after taking over after World War II. The stone lions and the cartouche, the decorative round shield around them, were removed later and disappeared after a while. The late 2010s plans for the reconstruction include the restoration of the coat of arms, but none of the other destroyed or removed parts of the building. The coat of arms composition on the tympanum (fronton) was long and tall. It was reconstructed in 2019 and made of metal core covered with clay, which is used to make the plaster cast.

As a part of the soul, a person's rn (𓂋𓈖 'name') was given to them at birth and the Egyptians believed that it would live for as long as that name was spoken, which explains why efforts were made to protect it and the practice of placing it in numerous writings. It is a person's identity, their experiences, and their entire life's worth of memories. For example, part of the Books of Breathing, a derivative of the Book of the Dead, was a means to ensure the survival of the name. A cartouche often was used to surround the name and protect it.

The two arches are on the left margin, next to the barrio of Madalena, are higher than the others and four on the right bank are covered by warehouses, torn by slatted rectangular openings. Upstream, the bridge is enhanced by eight slightly-staggered prismatic talhamares, of substantially different size and height. Each structure, its ashlar stones serve as the fulcrum arches, while others appear only to addorse the bridge structure. Halfway between the sixth and seventh arch there are (both on the upstream and downstream) an advanced semicircular pillar structure (oval masonry cartouche), inscribed with the date 1880.

Today the obelisk is exhibited in the National Museum in Khartoum. The obelisk is inscribed with the kings official titulary: Strong-bull, Appearing-in-Dominion (Thebes), King-of-Upper-and- Lower-Egypt, Two-ladies, Ruler-of-Egypt, Son-of-Rê, Pi(ankh)y: what he made as his monument for his father Amen-Rê, lord of [...]. An obelisk of King Senkamanisken was found at Gebel Barkal in 1916 by the Harvard University- Museum of Fine Arts Expedition to Sudan. There are remains of another small obelisk inscribed with the cartouche of King Aktisanes at the site of Gebel Barkal.

The house has four windows, arcades and a richly ornamented finial in the form of a cartouche, which reputedly enclosed Szczebrzeszyn's coat of arms. Built, the Turobin House was built in the 1600s in line with Bernardo Morando's design for the town of Turobin which used to be part of Zamość Entail. It is embellished with many Renaissance decorations based on Italian models taken from Sebastian Serlia's books. Its façade has a frieze featuring a system of geometrical figures. The Cathedral (a former collegiate church until 1992) was founded by Jan Zamoyski and dedicated to the Lord's Resurrection and St. Thomas the Apostle.

Blue glazed steatite scarab in a gold mount, with the cartouche of Hyksos ruler Khyan:N5:G39-<-x-i-i-A-n->-S34-I10:t:N17 \- "Son of Ra, Khyan, living forever!" In his epitome of Manetho, Josephus connected the Hyksos with the Jews, but he also called them Arabs. In their own epitomes of Manetho, the Late antique historians Sextus Julius Africanus and Eusebius say that the Hyksos came from Phoenicia. Until the excavation and discovery of Tell El- Dab'a (the site of the Hyksos capital Avaris) in 1966, historians relied on these accounts for the Hyksos period.

After his ordination in 1625 Seghers left for Rome where he stayed for two years. In Rome, Seghers had the opportunity to work on projects with the leading painters: he collaborated with Nicolas Poussin on a few religious paintings, while for Cardinal Ludovisi, Seghers painted a flower garland around an oval cartouche filled with putti by the hand of the Italian painter Domenichino. The composition is referred to as Double wreath surrounding a medaillion with the triumph of love. Flower garland Seghers returned to his native city in 1627 where he continued to work as a painter for the remainder of this life.

A complete version of Amduat, an important New Kingdom funerary text, is in the vestibule, making it the first tomb where Egyptologists found the complete text. The burial chamber, which is supported by two pillars, is oval-shaped and its ceiling decorated with stars, symbolizing the cave of the deity Sokar. In the middle lies a large red quartzite sarcophagus in the shape of a cartouche. On the two pillars in the middle of the chamber there are passages from the Litanies of Re, a text that celebrates the later sun deity, who is identified with the pharaoh at this time.

The melodrama was played seriously on the first night and was received with little favor, but it was changed on the second night to burlesque, and thanks to him had a great success. All of Paris came to see it, and from that day he was famous. He created a number of parts that added to his popularity, especially Cardillac, Cagliostro and Cartouche. His success in the last led to an engagement at the Théâtre de la Porte Saint-Martin, where in 1827 he produced Ducange's Trente ans, ou la vie d'un joueur, in which his vivid acting made a profound impression.

Cartouche, 1721 The penalty for robbery with violence was hanging, and most notorious English highwaymen ended on the gallows. The chief place of execution for London and Middlesex was Tyburn Tree. Highwaymen whose lives ended there include Claude Du Vall, James MacLaine, and Sixteen-string Jack. Highwaymen who went to the gallows laughing and joking, or at least showing no fear, are said to have been admired by many of the people who came to watch.Spraggs, Gillian: Outlaws and Highwaymen: the Cult of the Robber in England from the Middle Ages to the Nineteenth Century, pp. 212–233.

Garland paintings were usually collaborations between a still life and a figure painter.Ursula Härting, Review of Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image Allegory of the Eucharist A number of garland paintings are known in which Coosemans painted the flower or fruit garland surrounding a cartouche with a depiction of a bust, crucifix or other religious symbol. An example is A sculpted bust in a niche surrounded with swags of fruit (Christie's on 1 April 2008 in Amsterdam, lot 151) of which it is not known who the collaborating artist is.

Egyptologists such as Nicolas Grimal, Wolfgang Helck and Walter Bryan Emery identify Weneg with king Sekhemib-Perenmaat and with the Ramesside royal cartouche-name Wadjenes. Their theory is based on the assumption that Sekhemib and Seth-Peribsen were different rulers and that both were the immediate successors of king Ninetjer. But this theory is not commonly accepted, because clay seals of Sekhemib were found in the tomb of king Khasekhemwy, the last ruler of the 2nd dynasty. The clay seals set Sekhemib's reign close to Khasekhemwy's, whilst the Ramesside name "Wadjenes" is placed near the beginning of the 2nd dynasty.

Cartouche with a personification of America, surrounded by flowers Brueghel collaborated with figure painters in the creation of garland paintings. Garland paintings are a special type of still life developed in Antwerp by artists such as Jan Pieter's grandfather Jan Brueghel the Elder, Hendrick van Balen, Frans Francken the Younger, Peter Paul Rubens and Daniel Seghers. They typically show a flower garland around a devotional image or portrait. This genre was inspired by the cult of veneration and devotion to Mary prevalent at the Habsburg court (then the rulers over the southern Netherlands) and in Antwerp generally.

Teppō Hokkoku Goshiki-zumi (, "Five Shades of Ink in the Northern Quarter") is a series of five ukiyo-e prints designed by the Japanese artist Utamaro and published in . The prints depict and contrast women who work in or near the exclusive pleasure district of Yoshiwara in the administrative capital of Edo (modern Tokyo). They range from the highest ranks—highly-trained and expensive geisha and oiran—to the lowest prostitutes outside the walls of Yoshiwara. Each is printed on a yellowish background and bears a different-coloured inkstick-shaped cartouche in the corner displaying the series name.

The final sanctuary was obliterated in a fierce fire; the blackened remains of an Egyptian jar bearing the cartouche of Queen Twosret gives a terminus post quem of c. 1200 BCE, a date consonant with other twelfth-century urban destruction in the Ancient Near East.H.J. Franken, "The Excavations at Deir ֝Allā in Jordan: 2nd Season" Vetus Testamentum 11.4 (October 1961), pp. 361-372. Unlike some other destroyed sites, Deir Alla's habitation continued after the disaster, without a break, into the Iron Age; the discontinuity was a cultural one, with highly developed pottery of a separate ceramic tradition post-dating the destruction.

Hokusai's signature The Great Wave off Kanagawa has two inscriptions. The first, within a rectangular cartouche in the top-left corner is the series title: "" Fugaku Sanjūrokkei / Kanagawa oki / nami ura, which translates as "Thirty-six Views of Mount Fuji / Offshore from Kanagawa / Beneath the wave". The second inscription, to the left, is the artist's signature: Hokusai aratame Iitsu hitsu, ("From the brush of Hokusai, changing his name to Iitsu"). Over his career, Hokusai used more than 30 different names, always beginning a new cycle of works by changing it, and letting his students use the previous name.

In the British Army, infantry forage caps were first regulated by the War Office in 1811 as a practical head dress that could be worn off duty, in barracks or in camp, in place of the cumbersome shakos and various forms of helmet comprising regimental headdress. Before this date, forage caps were worn as ordered regimentally. Mentioned in sources as early as 1768, these took on various forms, in some instances being made up locally using parts of worn out uniforms. When not in use, forage caps were could either be stowed in knapsacks or strapped to the cartouche case.

The king is seated on a throne with a short backrest, at the left side of his knees the Horus-name Medjedu is preserved, and, at the right side, a fragment of the lower part of the cartouche name Khnum-Khuf is visible. Khufu holds a flail in his left hand and his right hand rests together with his lower arm on his right upper leg. The artifact was found in 1903 by Flinders Petrie at Kom el- Sultan near Abydos. The figurine was found headless; according to Petrie, it was caused by an accident while digging.

Lawrie had created Saint Francis of Assisi with Birds, a bas-relief atop the 50th Street entrance, which depicts Francis of Assisi with a halo of golden birds around his head. Because it was not originally built for a specific country, the International Building North contains generic works related to international cooperation. Lentelli created four bas-reliefs above the sixth story windows, signifying Africa, Asia, Europe, and the Americas. Piccirilli's cartouche above the entrance, signifying a male and female holding tools and separated by the god Mercury, was intended with a similar theme, but instead ended up having a slightly fascist effect.

The soclo and cornice encircle the buildings spaces. The door, with triple lintel, has pilasters flanking the framed entranceway with pedestals and capitals. Over the capitals are corbels that frame the upper lintel and support the cornice. Over the cornice is a triangular apex flanked by pinnacles and over this a cartouche inscribed with: :REEDIFICADA / Po-P VIGARIO / FRANCISCO DE FRAGA E ALdo m / ANNO 1763 :Rebuilt /by Father Vicar / Francisco de Fraga e Almeida / Year 1763 The inscription is flanked by scrolls and surmounted by a stone with the sculpted symbols of St. Peter in bas-relief.

While the windows in the stone-built gable section are topped with protruding round- arches, the arch above the large north window is almost flat. The façade is decorated with wrought-iron anchors but the most notable feature is the doorway at the top of a flight of steps between the two entrances to the cellar. The round-arched doorway, flanked by sculpted figures and topped by the head of a bearded man with the completion of 1616 in a Renaissance cartouche. There was probably also an inscription with the initials of the first owner but this can no longer be seen.

However, the oldest ruins of the Isis temple date back to the Middle Kingdom period, when many mastaba tombs at Giza were demolished in attempt to make space for newer tombs and temples. The Isis temple was built at the very corner of the queen's pyramid G1-c, which is today believed to be Queen Henutsen's tomb. A first, direct proof for fakery is the circumstance that Khufu is introduced by his Horus name first, not by his birth name inside a cartouche, as it was actually common at this time. Secondly, it mentions the goddess Isis.

According to James D. Van Trump and Arthur P. Ziegler, Jr., "It is one of the last two market houses extant in Pittsburgh; the other is the East Liberty Market. The present building opened in 1893. It burned in 1914 (?) and was rebuilt probably on the old lines and opened in 1915. According to Walter C. Kidney, "When it was rebuilt in 1915 after a fire, the towers came off, the gable roof was brought down to the eaves on both fronts, and a well-scaled stone cartouche was set into the south front memorializing the new work.

The British Empire Building commissioned artists who were both British and non-British. As Britain did not have a good economy at the time due to the reduction of its empire in previous years, most of the artwork in the building focused on the empire itself rather than its artistic contribution. Carl Paul Jennewein, an American of German descent, created nine gold-leaf figures on three distinct panels above the entrance signifying different parts of the empire; these panels visually underscored the divisions in the triple-paneled doorway below. Jennewein also created a cartouche that depicts authentic British motifs combined in a single fictional coat of arms.

The entrance has glass-paneled double doors, set in a recess framed by marble trim and topped by a sill with a foliated cartouche, and a half-round transom window. Windows on the ground floor are set in rectangular openings with splayed keystoned lintels; there are small windows beneath the eaves that illuminate the rooms of the half-story. The interior begins with a tiled entry area, with stairs rising around the outer walls to a large meeting room that occupies most of the upper story. The entry opens into a central rotunda, with reading rooms on either side, and stacks and librarian area to the rear.

Harrassowitz, Wiesbaden 1987, ; page 117 In contrast, Egyptologist Kim Ryholt believes that Sneferka ruled during the midst of 2nd Dynasty and was to be identified with Neferkara I, attested in Ramesside sources. He points to the circumstance that Ramesside scribes often added the symbol of the sun to the names of early dynastic kings, ignoring the fact that the sun was not yet an object of divine adoration at that early time. To support his view, Ryholt points to cartouche names such as Neferkara II and Nebkara I, which represent early kings and contradictorily have a sun-symbol in their names.Kim Ryholt, in: Journal of Egyptian History; vol.1.

Francesco delle Opere is portrayed from three-quarters, with a black beret and a mantle of the same color, a red blouse under which is a white shirt. His hand holds a cartouche with the words Timete Devm ("Beware of God"), the beginning of a famous preaching by Girolamo Savonarola. The hands lie on an invisible parapet which coincides with the painting's lower border, as in Flemish contemporary works such as Hans Memling's Man with a Letter. Aside from the attention to details (typical of contemporary Flemish art), the painting share with Memling's also the presence of a city with pointed towers on the left.

Above the three arches are medallions with prophets, of whom only the middle one (Isaiah) has been identified, thanks to the cartouche saying Ecce Virgo [concipiet]. Below, the scene is completed by a predella with four scenes: Visitation, Nativity, Adoration of the Magi and Flight into Egypt. These shows typical elements of the International Gothic style, such as the fine arabesques in the drapes and the delicate tonalities in contrast with the dark backgrounds. In the Adoration, the detail of the old king kneeling to kiss the Child is taken from a Ghiberti's tile, and was also used by Gentile da Fabriano in his Strozzi Altarpiece.

This roughly corresponds to the territory in the sphere of influence of the rulers of the 16th dynasty. Djehuti's nomen and prenomen are known from a single block discovered by Flinders Petrie in Deir el-Ballas. A painted block bearing Djehuti's cartouche and showing him wearing the red crown of Lower Egypt – far beyond his sphere of influence – was uncovered in Edfu and otherwise, Djehuti is only attested by objects from his wife's burial. Queen Mentuhotep's tomb was found intact in 1822 and her (now lost) coffin was inscribed with one of the earliest cases of the texts from the Book of the Dead.

The interior of the chapel is decorated in a pattern of azulejo tile, while the stone spans are painted in faux- marble. On either side of the lateral walls are two built-in confessionals, with doors painted in red and decorative elements in gold, as well as faux marble interiors, framed in shells. The high-choir with balustrade is painted in blue and red, with the area of the sub-choir marked by lattice in dark wood, painted orange, with acanthus in gold-leaf and cartouche with a flaming heart pierced by arrows. To the right of the altar, is the large circular-base baptismal font.

C-Group people, 2300-1600 BCE, Faras. The Birth of Jesus - fresco in the Cathedral (Sudan National Museum in Khartoum) Fragment of the frieze with birds (National Museum in Warsaw) Stela, now in the National Museum of Sudan, with Setau, viceroy of Nubia, and his wife Nefro-mut worshipping Rameses II, whose Cartouche appears on the left side. Dating back to the A-Group period, the town was a major centre during the Meroitic period, and was the site of a major temple. During the period of ancient Egyptian control over Nubia, Faras became an Egyptian administrative centre and, located upriver from Abu Simbel, Egyptian cultural influences were prominent.

Userkare is present on the Abydos King List, a list of kings written during the reign of Seti I (1290-1279 BC) over 1000 years after the early Sixth Dynasty. Userkare's cartouche occupies the 35th entry of the list, between those of Teti and Pepi I, making him the second pharaoh of the dynasty. Userkare was possibly also listed on the Turin canon, a king list composed during the reign of Ramesses II (1279-1213 BC). Unfortunately, a large lacuna affects the second line of the fourth column of the papyrus on which the list was written, the place were Userkare's name might have been located.

Seated on this is an elaborate marble baroque structure with a central niche containing a life-size standing effigy of John Northcote (d.1632). On either side of him, each between two pilasters, are shown within strapwork surrounds roundels containing sculpted reliefs of the heads of his two wives, his first wife at dexter in the position of honour, the second wife on the sinister side. Below each roundel is an inscribed tablet of black stone. This top structure is surmounted by a cornice with arched middle over the top of which is placed a heraldic cartouche showing many quarterings of the Northcote family.

Monument to Basset's wife, Elizabeth Peryam, in Heanton Punchardon church He married Elizabeth Periam (1571-1635) the second daughter and co-heiress of Sir William Peryam (1534-1604), of Little Fulford, near Crediton in Devon, Lord Chief Baron of the Exchequer. Her mural monument survives in the Basset Chapel (now the vestry) of Heanton Punchardon Church. Within a lozenge at the top and on an escutcheon to the sinister are shown her paternal arms of Peryam: Gules, a chevron engrailed or between three lion's faces affrontes of the last. The arms of Peryam are also shown on an oval cartouche underneath, impaled by Bassett.

Nynetjer is commonly identified with the Ramesside cartouche names Banetjer from the Abydos King List, Banetjeru from the Sakkara table and Netjer-ren from the Royal Canon of Turin. The Palermo Stone inscription presents an unusual goldname of Nynetjer: Ren-nebu, meaning "golden offspring" or "golden calf". This name appears already on artefacts surviving from Nynetjer's lifetime and Egyptologists such as Wolfgang Helck and Toby Wilkinson think that it could be some kind of forerunner of the golden-Horus- name that was established in the royal titulature at the beginning of 3rd dynasty under king Djoser.Wolfgang Helck: Untersuchungen zur Thinitenzeit - Ägyptologische Abhandlungen, Volume 45.

Egypt entertained continuing trade relations with the Levant during Djedkare's reign, possibly as far north as Anatolia. A gold cylinder seal bearing the serekh of Djedkare together with the cartouche of Menkauhor Kaiu is now on display at the Museum of Fine Arts, Boston. The seal, whose gold may originate from the Pactolus river valley in western Anatolia, could attest to wide-ranging trade-contacts during the later Fifth Dynasty, but its provenance remains unverifiable. Trade contacts with Byblos, on the coast of modern-day Lebanon, are suggested by a fragmentary stone vessel unearthed in the city and bearing the inscription "King of Upper and Lower Egypt, Djedkare [living] forever".

In general, two basic versions of his name exist: an old version, which is closest to the (lost) original, and a younger version, which seems to be based on ramesside interpretations and misreadings. Huni's cartouche on the back of the Palermo stone in Neferirkare's register. The older version uses the hieroglyphic signs candle wick (Gardiner sign V28), juncus sprout (Gardiner sign M23), bread loaf (Gardiner sign X1) and water line (Gardiner sign N35). This writing form can be found on Old Kingdom objects such as the Palermo Stone recto (reign of Neferirkare), the tomb inscription of Metjen, the stone vessel found in Abusir and the granite cone from Elephantine.

The most notable influence, however, is Shintō, a native animistic religion which presupposes that the physical world is inhabited by eight million omnipresent spirit beings.Rubin 2000 Kunisada Female Ghost print title cartouche Yūrei-zu such as this one represent the conflation of two prevailing trends in the nineteenth century Japanese literary and visual arts: depictions of the female form, and depictions of macabre or supernatural themes. During this period, ghosts— particularly the female variety— commonly figured in folktales, as well as theatre. Vengeful spirits returning to punish their wrong-doers were a staple of kabuki, bunraku and nō dramas, and proved popular with audiences.

Between the couple on a cartouche are the arms of Fortescue impaling Speccot: Or, on a bend gules three millrinds argentBlazon per Tristram Risdon High up on the south wall of the south aisle chapel ("Fortescue Chapel") of the parish church is affixed the Fortescue mural monument, erected in 1638Cherry & Pevsner, p.891 by Hugh Fortescue (1592–1661).Per text of Latin chronogram, see below Hugh was married to his third cousin Mary Rolle (1587–1649), daughter of Robert Rolle (1560–1633) of Heanton Satchville,Vivian, Lt.Col. J.L., (Ed.) The Visitations of the County of Devon: Comprising the Heralds' Visitations of 1531, 1564 & 1620, Exeter, 1895, p.

The design of the mace is derived from an ancient battle weapon and the Roman fasces. The ceremonial mace is high and consists of 13 ebony rods—representing the original 13 states of the Union—bound together by silver strands criss-crossed over the length of the pole. The rods are bound together by four crossing ribbons of silver, pinned together and held at the bottom and at the top by silver bands. The bands are decorated with floral borders and a repoussé design. The name “Wm. Adams/Manufacturer/New York/1841.” is engraved in the cartouche, located in the front center of the bottom band.

The cartouche on the pedestal is supported by figures representing the genius of Glory. The monument was cast in bronze by Vasily Ekimov in the foundry workshop of the Imperial Academy of Arts, with the bronze bas-relief on the pedestal sculpted by Fyodor Gordeyev. In the agreement with Ekimov signed on 12 October 1800, it was arranged that the statue would be cast and polished by 1 April 1801. The foundry however was experiencing a particularly heavy workload, with the gates for the Mikhailovsky Castle, and statues, bowls and vases for the Grand Cascade at the Peterhof Palace being cast there, resulting in some delays for the monument.

Stela of the Great temple of the Aten showing the early form the Aten's names. During the Amarna Period, the Aten was given a royal titulary enclosed in a double cartouche, carrying royal implications. Some have interpreted this to mean that Akhenaten was the embodiment of Aten, and the worship of Aten is directly worship of Akhenaten; but others have taken this as an indicator of Aten as the supreme ruler even over the current reigning royalty. There were two forms of the title; the first had the names of other gods, and the second later one was more 'singular' and referred only to the Aten himself.

Further finds date to the time of Sety I. An inscription from year 6 shows Sety I before Amun-Re, Ptah and a goddess. Another stele shows the Commander of troops of the fortress of the Lord of the Two Lands, named Hapi adoring the cartouche of Sety I. The rediscovery of the Temple of Kheny is a significant find for the east bank. The other item of significance is the collection of over 5,000 epigraphic symbols and hieroglyphs collected from this site and all over Egypt. There appears to be an image depicting the actual transport of the sandstone blocks to temple sites.

From the outset, design was essential to the success of the Penguin brand. Avoiding the illustrated gaudiness of other paperback publishers, Penguin opted for the simple appearance of three horizontal bands, the upper and lower of which were colour-coded according to which series the title belonged to; this is sometimes referred to as the horizontal grid. In the central white panel, the author and title were printed in Gill Sans and in the upper band was a cartouche with the legend "Penguin Books". The initial design was created by the then 21-year-old office junior Edward Young, who also drew the first version of the Penguin logo.

Following the Court of Chancery decree upholding Mary's will, a parcel of land in Bootham, York, was acquired from William Wilberforce of Hull (1690–1776), grandfather of the anti-slave trade campaigner William Wilberforce, and building began. Wandesford Hospital was designed by Colonel James Moyser, a gentleman architect and an associate of Richard Boyle, 3rd Earl of Burlington. There are two other almshouses by James Moyser, both in Beverley: Ann Routh's Hospital and Tymperon House, which share several of the architectural features of Wandesford House, notably the giant arches and window style. Ann Routh's also has the same projecting pediment, which contains a cartouche.

In contrast, Egyptologists Wolfgang Helck and Aidan Dodson suggest that Khaba could have been identical to the Ramesside names Sedjes and Hudjefa II. Both "names" are actually pseudonyms for a royal title that was illegible when the Ramesside scribes compiled the kinglists. This would match a king who ruled only a short time. The Turin Canon gives a short reign of 6 years for Hudjefa II. A minority of modern Egyptologists think that Khaba might be identical to a Ramesside cartouche name known as Huni. This name can be credited to a king who is handed down by the Ramesside scribes as the last ruler of the 3rd dynasty.

Garland paintings were usually collaborations between a still life and a figure painter. The figure painter would take care of the figures inside the cartouche while the still life painter was responsible for the flower or fruit garland.Ursula Härting, Review of Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image A pair of two garland paintings on copper have been attributed to Gillemans the Younger: the Stone niche decorated with fruit and flowers with insects surrounding the Virgin and Child and the Stone niche decorated with fruit and flowers with insects surrounding the Holy Family (At Mercier & Cie, Lille (France) on 26 June 2016, lot 210).

However, no mention or reference to Ahmose as king appears in Kamose's Year 3 stela which indirectly records Kamose's first campaign against the Nubians; this can only mean that Kamose appointed the young Ahmose as his junior coregent sometime after his third year prior to launching a second military campaign against the Nubians.Ryholt, p.274 As a result, Kamose's second Nubian campaign must have occurred in his Year 4 or 5. The target of Kamose's second Nubian campaign may have been the fortress at Buhen which the Nubians had recaptured from Kamose's forces since a stela bearing his cartouche was deliberately erased and there is fire damage in the fort itself.

The paper also still contained confusions regarding the relative role of ideographic and phonetic signs, still arguing that also hieratic and demotic were primarily ideographic. Scholars have speculated that there had simply not been sufficient time between his breakthrough and collapse to fully incorporate the discovery into his thinking. But the paper presented many new phonetic readings of names of rulers, demonstrating clearly that he had made a major advance in deciphering the phonetic script. And it finally settled the question of the dating of the Dendera zodiac, by reading the cartouche that had been erroneously read as Arsinoë by Young, in its correct reading "autocrator" (Emperor in Greek).

A royal wife of the Middle Kingdom pharaoh Senusret III (c. 1878–1839 BC) was called Meretseger; she was the first to bear the title Great Royal Wife (which became the standard title for chief wives of Pharaohs) and the first whose name was written in a cartouche: however, as there are no contemporary sources relating to the Great Royal Wife Meretseger, this homonym of the goddess is most likely a creation of the New Kingdom.Dodson, Aidan & Dyan, Hilton (2004), The Complete Royal Families of Ancient Egypt, Thames & Hudson, . pp. 26–7. The goddess Meretseger was worshiped by the workers' guild, who feared her wrath very much.

Similar to C-SPAN, MGTV has made live coverage of the legislative proceedings available since July 15, 1996. Tiled ceiling bearing each state's coat of arms Although having the same floor plan, the House and Senate chambers are decorated very differently, with the former in terra cotta and teal colors and the latter in blue and gold. An oval cartouche in the carpet at the entrance to the House chamber features the state flower, the apple blossom. Presiding over the house is the speaker, whose chair is behind a desk in the center with a plaster and paint version of the state coat of arms.

From November 1839 and into the 1840s Peake wrote numerous articles for the periodicals; with a few exceptions all of his articles were published in Bentley's Miscellany. Peake wrote the accompanying text for the picture-book French Characteristic Costumes (1816); a comedic book of Cockney sports entitled Snobson's 'Seasons' (1838); Cartouche, the Celebrated French Robber (1844) in three-volumes; and a two- volume biography of a theatrical family, Memoirs of the Colman Family (1841). His comedy The Title Deeds, produced in June 1847 at the Adelphi Theatre, was probably his last play. From 1832 until his death Peake was the Treasurer at the Lyceum Theatre in London.

He designed in 1972 a catalog of unfindable postage-stamps ("Catalogue de timbres-poste introuvables").,Reissued by Emmanuel Pierrat at Les éditions Cartouche portraying for instance la Semeuse, the sowing woman which symbolizes France on coins and stamps, swinging a tennis racket in her majestic gesture, or Papa Doc, the dictator of Haiti, as Père Ubu. In recognition of the role played in the rebuilding of the OuPeinPo in 1980, Carelman bore the title of Régent of the Collège de Pataphysique, and was in charge of the chair of "Hélicologie", which purpose is to study the Gidouille, i.e. Père Ubu's belly, which is decorated with a spiral.

The Stadium of Domitian was dedicated in 86 AD as a gift to the people of Rome as part of an Imperial building program, following the damage or destruction of most of the buildings on the Field of Mars by fire in 79 AD. It was Rome's first permanent venue for competitive athletics, and today occupied by the Piazza Navona. In Egypt too, Domitian was quite active in constructing buildings and decorating them. He appears, together with Trajan, in offering scenes on the propylon of the Temple of Hathor at Dendera. His cartouche also appears in the column shafts of the Temple of Khnum at Esna.

His name never appears inside a cartouche, which was a pharaonic prerogative; nevertheless, on his seals he is usually called "the good god, Sekhaenre" (or simply "Sekhaenre") and "the son of Ra, Yakbim".Sekhaenre Yakbim on Egyphica.net There is no direct evidence that Yakbim's throne name was Sekhaenre. This theory is based on stylistic features of the seals and was proposed by William Ayres Ward and later elaborated on by Ryholt; Daphna Ben- Tor disputed this identification, pointing out that the seals of the several rulers living during this period are too similar to make such correlations on the basis of mere design features.

He built on a monumental scale to ensure that his legacy would survive the ravages of time. Ramesses used art as a means of propaganda for his victories over foreigners, which are depicted on numerous temple reliefs. Ramesses II erected more colossal statues of himself than any other pharaoh, and also usurped many existing statues by inscribing his own cartouche on them. Ramesses II was also famed for the huge number of children he sired by his various wives and concubines; the tomb he built for his sons (many of whom he outlived) in the Valley of the Kings has proven to be the largest funerary complex in Egypt.

All three inscriptions have the same meaning "Xerxes : The Great King". The Old Persian cuneiform inscription in particular, comes first in the series of languages, and reads: The line in Egyptian hieroglyph has the same meaning, and critically uses the cartouche for the name of Xerxes. The vase remained undeciphered for a long time after its acquisition by Caylus, but Caylus had already announced in 1762, in his publication of the vase, that the inscription combined the Egyptian script with the cuneiform script found in the monuments of Persepolis. Upon Caylus's death in 1765, the vase was given to the Cabinet des Médailles collection in Paris.

Sekhemre-Heruhirmaat Intef (or Antef, Inyotef) was an ancient Egyptian king of the Seventeenth Dynasty of Egypt, who ruled during the Second Intermediate Period, when Egypt was divided between the Theban-based 17th Dynasty in Upper Egypt and the Hyksos 15th Dynasty who controlled Lower and part of Middle Egypt. Cartouche of Sekhemre-Heruhirmaat Intef or Intef VIII, detail of a limestone block from Koptos Sekhemre-Heruhirmaat Intef is referred to as Intef VII in some literature,Chris Bennett, "A Genealogical Chronology of the Seventeenth Dynasty", Journal of the American Research Center in Egypt, Vol. 39 (2002), pp. 123–155 JSTORDodson, Aidan and Hilton, Dyan.

The partial basement contains a laundry (moved there in the late 1940s), mechanical equipment and a tufa chamber housing the Quapaw spring. Directly above the entrance is a cartouche with a carved Indian head set into the decorative double-curved parapet. The Indian motif, found in several other places in the bathhouse, was used to reinforce the promotional "Legend of the Quapaw Baths" which claimed that the Indians had discovered the magical healing powers of the cave and spring which were now housed in the building's basement. The double-curved parapets at the north and south ends of the building are capped with scalloped shells that frame spiny sculpin fish.

That their patron belonged to the Medici family is testified by the presence of Piero di Cosimo de' Medici's coat of arms (three feathers crossed by a ring with diamond and cartouche) at the base of the small column with a vase which divides the painting in two. The painting depicts the Annunciation of Mary with the archangel Gabriel (left) and Mary (right). God, whose hand can be seen at the lunette's top is blessing Mary through the dove symbolizing the Holy Ghost. Both lunettes were acquired in 1855 from the Metzger Brothers by Sir Charles Eastlake and donated to the National Gallery in 1861.

Following the lack of cartouche, Kim Ryholt also argues that 'Anat-Har never reigned as a ruler of Lower Egypt. Furthermore Ryholt points to the style and design of 'Anat-Har's seals which are typically of seals produced during the 12th Dynasty. Thus Ryholt argues that 'Anat-Har was a Canaanite chieftain contemporary with this dynasty and who may have had commercial relations with Egypt. According to Ryholt the title of Heka-chasut, which constitutes the main argument for a 15th Dynasty date, is also found in seals of the 12th and 14th Dynasties and cannot be used to precisely date 'Anat-Har's life.

Peter J. Brand, The Monuments of Seti I: Epigraphic, Historical and Art Historical Analysis, Brill, NV Leiden, (2000), p. 311 It appears that Horemheb was outmaneuvered to the throne by Ay, who legitimized his claim to the throne by burying Tutankhamun, as well as possibly marrying Ankhesenamun, Tutankhamun's widow. Fragment of a cartouche of Ay in the Petrie Museum Since he was already advanced in age upon his accession, Ay ruled Egypt in his own right for only four years. During this period, he consolidated the return to the old religious ways that he had initiated as senior advisor and constructed a mortuary temple at Medinet Habu for his own use.

In 1677, the Medici commissioned Vittorio Crosten to build the ebony and ivory frame in which the lens has since been preserved. The frame is carved with floral motifs, images of scientific instruments and Latin inscriptions commemorating Galileo's achievements and his connection to the Medici family. A cartouche is inscribed "COELUM LINCEAE GALILEI MENTI APERTUM VITREA PRIMA HAC MOLE NONDUM VISA OSTENDIT SYDERA MEDICEA IURE AB INVENTORE DICTA SAPIENS NEMPE DOMINATUR ET ASTRIS" (The sky opened by the lynx-like thought of Galileo with this first glass lens showed stars never seen before, rightly called Medicean by their discoverer. The wise man indeed dominates the stars as well).

The dating of these important documents is secured by phrases typical for the Old Kingdom period, as well as the fact that the letters are addressed to the king himself, using his Horus name. This was typical when an addressed king was still alive; when the ruler was already dead he was addressed by his cartouche name or birth name. One document is of special interest: the diary of Merer, an official involved in the building of the Great Pyramid. Using the diary, researchers were able to reconstruct three months of his life, providing new insight into the everyday lives of people of the Fourth Dynasty.

The university in return undertook to build a new guild house for the guilds which had been established in the cloth hall. On 18 June 1680, work started on an entirely new upper floor, which after completion in 1690 housed teaching spaces and the university library. A Baroque cartouche was added above the main entrance with the inscription from the Book of Proverbs (9:1), Sapientia aedificavit sibi domum ("Wisdom has built herself a house"). Rega's 18th-century extension In 1719, Rector Henri-Joseph Rega commissioned the addition of a new wing. Work started on 22 April 1723, and the new wing was taken into use on 14 March 1725.

It was initially believed that the Goa'uld created the Stargates, but this was proven false in "The Torment of Tantalus" when the SGC discovered that Earth had accidentally dialled an address in 1945 that was not on the Abydos cartouche. Following this revelation, a larger list of Stargate addresses is provided by Jack O'Neill in "The Fifth Race" from knowledge downloaded into his mind by a Repository of the Ancients, allowing them to travel to worlds unknown to the Goa'uld. In "Rising", a list of Stargate addresses in the Pegasus galaxy is found in the Atlantis database. The SGC assigns designations to Stargate- accessible planets in the form Pxx-xxx or Mxx-xxx.

Champollion's 1829 drawing of a cartouche showing the name "ydhmrk". Champollion's 1829 read of this name as "King of Judah" has been discredited by modern scholars, who generally accept that the phrase refers to "Yad Hemmelek" ("Hand of the King"), although it has also been interpreted as "Juttah of the King" This gate was erected by the kings of the Twenty-second Dynasty of Egypt, also known as the "Bubastite Dynasty". It is located to the south-east side of the Temple of Ramesses III. Although Karnak had been known to Europeans since the end of the Middle Ages, the possible significance of the Bubastite Portal was not apparent prior to the decipherment of hieroglyphics.

The latter contained a lid and several fragments of canopic jars, 11 or 12 canopic clay figures of gods and goddesses including Osiris, Imsety and Neith, a few inlay pieces of lapis lazuli, obsidian and slate (all originally from a sarcophagus), and fragmentary faience shawabtis. Excavations of the pyramid yielded numerous objects including fragments of jars and alabaster vessels, one of which was inscribed with Tantamani's cartouches, several bowls, a beryl scarab attached to a gold wire loop, pieces of gold foil, a faience pendant with Atlanersa's cartouche, Menat amulets and beads, pieces of paste, and further fragments of shawabtis. In total, 15 complete shawabtis were recovered of over 235 found in the pyramid, all c. in size.

Jürgen von Beckerath proposes king Nyuserre as the holder of the third cartouche; he thinks it is possible that Nyuserre was simply misplaced to the beginning of the 5th Dynasty. The Saqqara king list would therefore give the following succession: Khafra → Bikheris → Menkaura → Shepseskaf → Thamphthis → Nyuserrê → Userkaf. The Royal Canon of Turin also provides an unusual sequence: after king Khafra, the papyrus on which the king list was written is damaged, and only a few year notes have survived. According to the numbers of preserved year notes, between Khafra and Menkaura a further king must have been listed, because an additional line starts with "king of Upper- and Lower Egypt" (the year notes here are damaged and illegible, though).

The firm was awarded a 1st class prize at the Paris World Exposition of 1857 for a commercial clock of this type. This innovative and fruitful partnership continued until the death of Brocot fils in 1878, after which event Delettrez continued on his own. His typical later product was a conventional 8-day mantle clock that struck the hours and half-hours, still based on the standard Brocot escapement and suspension that he had helped to refine. These elegant and much-admired timepieces were typically made to order for retailers, including several in Britain, with dials carrying the name of the retailer rather than that of their maker, but whose mechanism was stamped with the cartouche (JBD).

Near the left border is the patriarch of Venice, Antonio Soriano, with the hands joined, and, next to him, Burkard von Speyer, then chaplain of the church of San Bartolomeo, who was also portrayed by Dürer in another painting. On the right, nearby a lush Alpine landscape, is the artist's self-portrait with a cartouche in a hand: here is the signature with a short inscription, reporting the time needed to complete the work (five months). The characters next to the painter are likely Leonhard Vilt, founder of the Brotherhood of the Rosary in Venice, and (in black) Hieronymus of Augsburg, the architect of the new Fondaco dei Tedeschi. Annexed is the donor's portrait.

Whereas the name of Nodjmet was written in a cartouche, the name of Hrere was not. Since mostly this Nodjmet is seen as the wife of the High Priest Herihor, who is also attested with royal titles, Hrere’s title is often interpreted as “King’s Mother-in-law”,Kitchen, o.c., 44 although her title “who bore the Strong Bull” suggests that she actually must have given birth to a king.Edward Wente, JNES 26 (1967), 173-174 However, recently, the common opinion that there was only one Queen Nodjmet has been challenged and the old view that the mummy found in the Royal Cache was that of the mother of Herihor rather than his wife has been revived.

It undergoes a very short stay in the used Scotch barrels that are first washed with a citrus solution. The remaining fresh acidity adds dimension to the other complex terroir- derived influences of cloves, vanilla, and others. This Classique Cuvee Blanche and its companion the Classique Cuvee Noire (still bottled by hand) are impressive in their complexity and finesse even when stood against their elders listed below — the Prestige and Nosy-Be lines, which are bottled in separate modern facilities. A five-part filtration system is used to ensure water purity: a sand filter to remove impurities and solids; Carbon to remove odors; Cathanion to remove chemicals; Cartouche for minerals; and Ultraviolet to kill germs.

A fragment of Amenmose's small stone naos has also been found dated to year 4 of Tuthmose I. Amenmose's name was written in a cartouche, which was usually restricted to pharaohs and their chief queens; it was rare for a crown prince to be identified in this manner.Dodson, A., Crown Prince Djhutmose and the Royal Sons of the Eighteenth Dynasty, The Journal of Egyptian Archaeology, Vol 76 (1990), pp. 87-96 Amenmose was the first Egyptian prince to receive a military title (that of "Great Overseer of Soldiers"), reflecting the role of pharaohs and princes as generals. This title first appeared during the Middle Kingdom and was later used frequently for princes during the Ramesside period.

Bone cylinder inscribed with the serekh of Hotepsekhemwy. Hotepsekhemwy is commonly identified with the Ramesside cartouche names Bedjau from the Abydos king list, Bedjatau from Giza, Netjer-Bau from the Sakkara king list and the name Bau-hetepju from the royal canon of Turin. Egyptologist Wolfgang Helck points to the similar name Bedjatau, which appears in a short king list found on a writing board from the mastaba tomb G1001 of the high official Mesdjeru. "Bedjatau" means "the foundryman" and is thought to be a misreading of the name "Hotepsekhemwy", since the hieroglyphic signs used to write "Hotep" in its full form are very similar to the signs of a pottery kiln and a chick in hieratic writings.

One of his Cape Cod maps was detailed by Laura Guadnazno in the Provincetown Banner: :Coulton Waugh lived near his father in the house known as the "oldest house" at 72 Commercial St., where he ran a ship model shop. Coulton was a professional sailor and made scale drawings of historic ships, designed fabrics, and made decorative maps and charts... Waugh was considered to have revived, if not originated the art of decorative map making when he exhibited a large map of silk in 1918 at the International Silk Show in New York City. His map of Cape Cod is one of the most decorative ever prepared. The central cartouche shows the Mayflower and two Pilgrims in armour.

He had reproductions made from his sketches by the leading engravers in Antwerp, such as Paulus Pontius, Conrad Waumans, Cornelis Galle the Younger, Pieter de Jode II and Mattheus Borrekens. The engravings were made on copper plates with a size of approximately 30 x 20 cm (Folio format) and printed on large-format paper sheets of up to 41 x 32 cm. The prints show the bust of the delegate in an oval in which his motto is inscribed, above him the coat of arms of the entity that the delegate represents at the peace negotiations, below the coat of arms of the delegate's family and below this a cartouche with the delegate's titles.

Assuming its authenticity, Jacques Vandier proposed in his first study of the stele in 1968 that it be dated to the 3rd Dynasty on stylistic grounds, suggesting that Qahedjet be identified with king Huni, the last ruler of the dynasty. Toby A.H. Wilkinson and Ian Shaw are of the same opinion: they think that "Hor-Qahedjet" was the serekh name of Huni, although this assumption is only based on that Huni is the only king of this dynasty whose Horus name is unknown (the name "Huni" is a cartouche name only). Thus, their theory is not commonly accepted.Ian Shaw: The Oxford history of ancient Egypt. page 88.Jacques Vandier: Comptes Rendus de l’Académie des Inscriptions et des Belles-Lettres.

The others include memorials to another Richard Bold, who died in 1635, and his wife; to Richard Bold who died in 1704, which consists of a cartouche with cherubs; to Peter Bold who died in 1762 by B. Bromfield of Liverpool; and to Anna Maria Bold, who died in 1813, by G. Bullock. The memorial to Peter Patten Bold, dated 1822 and signed by Francis Chantry is in white marble and depicts a woman kneeling over a pedestal. The memorial to Mary, Princess Sapieha (1795–1824) who died from tuberculosis only 2 years after her marriage, was made in Rome by Pietro Tenerani. Behind the altar is a white effigy to the memory of Alice Houghton, dated 1852.

Deciding he would need a reliable assistant if a discovery was made, he visited Callender, who agreed to join Carter's dig at short notice if required. On 4 November Carter's team discovered a flight of steps which, once dug out, revealed a doorway sealed with ancient cartouches, suggesting an intact tomb. Carter ordered the staircase refilled, to await the arrival of his patron Lord Carnarvon, then in England. Meanwhile, Carter contacted Callender, who joined the excavation on 10 November. On 24 November 1922 Carnarvon, accompanied by his daughter Lady Evelyn Herbert, had arrived and were present when Carter and Callender supervised the uncovering of the stairway to the tomb, with a seal containing Tutankhamun's cartouche found on the doorway.

As this shape has been regarded as a war-like device appropriate to men only, British ladies customarily bear their arms upon a lozenge, or diamond-shape, while clergymen and ladies in continental Europe bear theirs on a cartouche, or oval. Other shapes are in use, such as the roundel commonly used for arms granted to Aboriginal Canadians by the Canadian Heraldic Authority or the Nguni shield used in African heraldry. Though it can be used as a charge on its own, the most common use of an escutcheon charge is to display another coat of arms as a form of marshalling. These escutcheons are usually given the same shape as the main shield.

The city-state of Gezer (named Gazru in Babylonian) was ruled by four leaders during the 20-year period covered by the Amarna letters. Discoveries of several pottery vessels, a cache of cylinder seals and a large scarab with the cartouche of Egyptian pharaoh Amenhotep III attest to the existence of a city at Gezer's location in the 14th century BCE - one that was apparently destroyed in the next century \- and suggest that the city was inhabited by Canaanites with strong ties to Egypt., Haaretz, published October 24, 2013, retrieved November 27, 2013. In the Late Bronze Age (second half of the 2nd millennium BCE) a new city wall, four meters thick, was erected outside the earlier one.

This is a signature from AY-O With arrival of the rainbow period in the 1980s some new signature is introduced where the O encircles the other letter in a cartouche-like manner like in this example of 1985 on one of the large 96 gradations work. This is a signature from AY-O Last but not least the rainbow artist developed his 'signature signature': the rainbow signature used mostly for autographs and paper. This is one of his mini happenings. To produce it AY-O puts felt-pin pens in his fist with all colors of the rainbow and signs with it as can be seen in this picture of a book signed with the rainbow signature.

On top of the pedestal is a cornice on which is the figure of a soldier in the uniform that was worn in the Boer Wars. He stands at ease, with a tree trunk behind his right leg, and is holding a rifle. He also has a satchel, a water flask, strips of bullets, a hip bag, and on his belt is a dagger. On the east side of the base of the memorial, facing the shopping precinct, is letting in lead that reads: In a scroll on the east side of the pedestal is a Latin inscription reading: Below the scroll is a cartouche inscribed: followed by a list of names.

Parker named the Kangaroo Island bird Dromaius baudinianus, after Nicolas Baudin, the leader of the French expedition. The name Dromaius ater was kept for the King Island emu. 1807 cartouche of a small emu and other birds from a map of south east Australia and Kangaroo Island There are few morphological differences that distinguish the extinct insular emus from the mainland emu besides their size, but all three taxa were most often considered distinct species. A 2011 study by the Australian geneticist Tim H. Heupink and colleagues of nuclear and mitochondrial DNA, which was extracted from five subfossil King Island emu bones, showed that its genetic variation fell within that of the extant mainland emus.

He was buried in an unused outer coffin of his great-grandfather, which Ramesses I had had made when he was still a vizier. Although the inner coffin was also altered for Ramesses-Meryamun-Nebweben's burial, and the inscriptions were changed to his name instead of that of his great-grandfather, only the outer coffin was used, and the inner one was found by archeologists in a pit in Medinet Habu.Dodson & Hilton, p.175 Unlike several of his brothers, whose name also includes the name Ramesses, in his name "Ramesses Meryamun" was enclosed in a cartouche, making it explicit that it is not used in its literal meaning ("Born of Rê, Beloved of Amun") but refers to the pharaoh.

It is believed that the woodcut and the painting were completed around the same time based on a lost original. Possibly this lost original was a portrait completed while Casimir was still alive but lost during a fire in Vilnius Cathedral in 1530. The painting was touched up in 1594 as evidenced by an inscription in a Renaissance cartouche at the bottom which cites a line from Psalm 92: The righteous shall flourish like the palm tree: he shall grow like a cedar in Lebanon. Likely at this time, the original pendant which is worn by Casimir and which depicted Madonna with child was replaced by the Order of the Golden Fleece.

Pulpit decorated by Johann Michael Feichtmayr and Johann Georg Ueblherr The Austrian stuccoer Franz Josef Holzinger of Sankt Florian was commissioned to do the stucco work (1739-1741). However, he was forced to interrupt his work by the War of the Austrian Succession, and his commission was later discontinued, as his stuccoing was unsatisfactory. The work was continued by the Augsburg-born master stuccoers, Johann Michael Feichtmayr and Johann Georg Ueblherr, two members of the Wessobrunner School. They applied the then highly admired and fashionable rocaille cartouche ornamentation, redecorated Holzinger’s stuccoing with great skill, created the lively curved retables surrounding the large altar-pieces, and fashioned the pulpit as well as the casing of the choir organ.

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.

In 2015, English Egyptologist Nicholas Reeves published evidence showing that an earlier cartouche on Tutankhamun's famous gold mask read "Ankhkheperure mery- Neferkheperure" (Ankhkheperure beloved of Akhenaten); therefore, the mask was originally made for Nefertiti, Akhenaten's chief queen, who used the royal name Ankhkheperure when she most likely assumed the throne after her husband's death. Neferneferuaten may have been deposed in a struggle for power and possibly deprived of a royal burial, or she was buried with a different set of Akhenaten's funerary equipment by Tutankhamun's officials, since Tutankhamun succeeded her as king.Nicholas Reeves,Tutankhamun's Mask Reconsidered BES 19 (2014), pp. 523–24 Neferneferuaten was likely succeeded by Tutankhamun based on the presence of her funerary goods in his tomb.

NGTB, 28–39 Because of its importance it was catalogued as No. 1 in Angerstein's catalogue, and when the Angerstein collection was bought by the British government in 1824 for the foundation of the National Gallery the canvas was now catalogued as NG1,NGTB, 29 making it officially the first painting to enter the National Gallery.Gould, 242–245 In 2017, for their exhibition of Michelangelo and Sebastiano, the National Gallery gave the painting a new frame, with the bottom copying the original element still in Narbonne Cathedral. This is in blue and gold, with a cartouche and Medici devices, and there are two gilded and decorated classical columns at the sides, with an elaborate pediment above.

This theory was advanced early in the twentieth century based on an elaborate woven belt of uncertain provenance often called the Girdle of Ramesses because it bore an inked cartouche of Ramesses III. Arnold van Gennep and G. Jéquier published a book in 1916, Le tissage aux cartons et son utilisation décorative dans l'Égypte ancienne, predicated on the assumption that the ancient Egyptians were familiar with tablet weaving. Scholars argued spiritedly about the production method of the belt for decades. Many popular books on tablet weaving promoted the Egyptian origin theory until, in an appendix to his magisterial work on tablet weaving, Peter Collingwood proved by structural analysis that the linen belt couldn't have been woven on tablets.

She has very pale skin, and a fashionably high forehead, with her hair tightly pinned to fit under the head-dress. Her dress is dark purple or black – the colours have darkened from their original blue – with a white collar above a red breastplate or bodice. The lower border of the frame contains a carved banderole with an inscription reading SIBYLLA SAMBETHA QUAE / EST PERSICA; associating the woman with the Persian Sibyl. A painted metal cartouche placed at the top left of the picture is a later addition, and contains the words "SIBYLLA SAMBETHA QVAE ET PERSICA, AN: ANTE CHRIST: NAT: 2040" (The Sibyl Sambetha, the Persian, in the year 2040 BC).

Merkheperre is also attested by two artefacts dating to his reign: a glazed weight of grey schist bearing his cartouche, now in the Petrie Museum UC 16372Weight of Merkheperre on Digital Egypt for UniversitiesCatalogue of the Petrie museum and a scarab inscribed with his name. Although the scarab is accepted as evidence of Merkheperre by Darrell Baker, Jürgen von Beckerath, Stephen Quirke and others, Kim Ryholt rejects this attribution.Darrell D. Baker: The Encyclopedia of the Pharaohs: Volume I - Predynastic to the Twentieth Dynasty 3300–1069 BC, Stacey International, , 2008, p. 214 Ryholt points to its lack of royal attributes and insignia as well as its stylistic features which depart from other royal seals of the 13th Dynasty.

Alfred Janniot's bronze engraving above the entrance depicts personifications of France and New York holding hands above the ocean and the heads of the personifications of poetry, beauty, and elegance. Above this bronze engraving, Janniot also sculpted a cartouche of a female personification of French freedom, proclaiming "Liberté, Egalité, Fraternité" (Liberty, Equality, Fraternity). In 1934, Rene Chambellan created four bronze bas-reliefs on the sixth floor, which symbolize historical eras of France: Charlemagne's Empire, New France, Louis XIV's Absolute Monarchy, and the French Republic. The one non-French artist was Lee Lawrie, who decorated the secondary entrances with scalloped and triangle-patterned lintels, gold-covered fleurs-de-lis, and a woman wearing a Phrygian cap.

Stele of Anpuemhat, attesting the funerary cult of Merikare in Saqqara during the 12th Dynasty Many sources suggest that Merikare was buried in a yet-undiscovered pyramid in Saqqara, called Flourishing are the Abodes of Merikare, that had to be near to the pyramid of Teti of the 6th Dynasty. The titles of the officials involved in its construction are documented, as his funerary cult endured into the 12th Dynasty; in fact, Merikare's cartouche appears on the stelae of at least four priests who were responsible for the funerary cult of Teti and Merikare during the Middle Kingdom.James Edward Quibell, Excavations at Saqqara (1905-1906), Le Caire, Impr. de l'Institut français d'archéologie orientale (1907), p.

Fantastic Treasures was written by Alan Hammack, with a cover by Boris Vallejo, and was published by Mayfair Games in 1984 as a 96-page book. In a September 28, 1984 agreement between Mayfair and TSR, Mayfair was given a perpetual, royalty-free license to use the AD&D; trademark but only in connection with the Role Aids books and only with very specific text and graphics, agreed upon by the two parties. Fantastic Treasures (1984) was the first product to contain the new text, as well as the words Advanced Dungeons & Dragons in a simpler, sans- serif font, all inside a red cartouche that would be used throughout the rest of Mayfair's history.

Armigerous signet ring bearing the arms of the Baronnet family; goldsmith: Jean-Pierre Gautheron, Paris Golden ring, with cartouche and hieroglyphic name of Tutankhamun: 'Perfect God, Lord of the Two Lands' ('Ntr-Nfr, Neb-taui'; right to left columns)—Musée du Louvre. A signet ring is a ring bearing on its flat top surface the equivalent of a seal. A typical signet ring has a design, often a family or personal crest, created in intaglio so that it will leave a raised (relief) impression of the design when the ring is pressed onto liquid sealing wax. The design is often made out of agate, carnelian, or sardonyx which tend not to bind with the wax.

By using trompe l'oeil effects Seghers was able to create the illusion of three- dimensionality, for instance by including elements that look as if they protrude outside of the picture frame. The aim was to give the viewer the impression that they were not looking at a painting but at a real garland of flowers around a genuine sculptured cartouche. Abraham Brueghel, the grandson of Jan Brueghel the Elder, introduced the genre into Italy where he worked for 40 years, first in Rome and then in Naples where he died in 1697. The Calabrian Prince Antonio Ruffo was an admirer of Brueghel’s works several of which he collected at his palace near Messina.

These princes, with the wealth and position of their families, had very little else to do but contribute to the arts, so their patronage was certainly less than detrimental to the arts of the time. Often, portraits of this class would be commissioned as depictions of family groups, depicting the male, an idealized, nubile wife, and their perfectly formed child. Other times, they would be in the form of a royal portrait, depicting solely the male commissioner, but with subtle variations making it clear that the sitter is not a Royal. One way that this was accomplished was through a cartouche that was displayed next to the head of each portrait's subject, clarifying who was being depicted, and any relevant titles (such as Soltān, shāhzādeh, &c.;).

Tutankhamun vanished from history in 1324 BC following his hurried burial and the erasure of his name from all monuments. In the winter of 1898 Carter is at the temples of Deir el Bahri recording wall reliefs threatened by a freak storm when he is thrown from his horse and makes a discovery in the sand. Retired Boston lawyer Theodore M. Davis funds Carter's excavation of Queen Hatshepsut's tomb but it is found to be empty and Carter deprived of further funding is reduced to selling his paintings to tourists on the street. In 1905 Lord Carnarvon arrives in Luxor to convalesce after a road accident and is shown an artifact bearing the cartouche of the mysterious Tutankhamun discovered by Davis on his new dig.

After Lenin's speeches, the Small Council of People's Commissars decided to "throw out a sword from the drawing." On June 18, 1918, at the meeting of the Council of People's Commissars, Y. Sverdlov's report "On the Soviet Press" was heard, the print project was approved in general, and the details (the question of the sword and the exact text of the inscription) were clarified the next day, June 19. Thus, the seal had the following appearance: in the center on a shield-cartouche framed with grain ears, a crossed sickle and a hammer; below in the vignette text: "ПРОЛЕТАРИИ ВСЕХ СТРАН, СОЕДИНЯЙТЕСЬ !" (instead of the "Council of People's Commissars" in the first draft), and on the circumference: "РОССИЙСКАЯ СОЦИАЛИСТИЧЕСКАЯ ФЕДЕРАТИВНАЯ СОВЕТСКАЯ РЕСПУБЛИКА" (instead of "Workers and Peasants .....").

Donation Stela of Shebitku, with the cartouche identifying him (bottom left). Metropolitan Museum The Turin Stela 1467, which depicts Shabaka and Shebitku seated together (with Shebitku behind Shabaka) facing two other individuals across an offering table, was once considered to be clear evidence for a royal co-regency between these two Nubian kings in William J. Murnane's 1977 book on Ancient Egyptian Coregencies.William Murnane, Ancient Egyptian Coregencies, (SAOC 40: Chicago 1977), p.190 However, the Turin Museum has subsequently acknowledged the statue to be a forgery. Robert Morkot and Stephen Quirke, who analysed the stela in a 2001 article, also confirmed that the object is a forgery which cannot be used to postulate a possible coregency between Shabaka and Shebitku.

On top of the cornice on each side are relief-sculpted roundels with surrounds in the shape of antique harps on which are shown the heads of the father and grandfather of the standing effigy, with above each an escutcheon showing the arms of his wife's family. To the front of the chest tomb forming the base of the structure are kneeling effigies at dexter of the standing figure's son, Sir John Northcote, 1st Baronet, and opposite him on the sinister side beyond a central prie-dieu his wife Grace Halswell. Above in the centre is a cartouche showing the arms of Northcote impaling Halswell. Kneeling behind the male figure are the couple's three sons and behind the wife kneels their daughter.

Harkuf had reported that he would bring back a "dwarf of the god's dancers from the land of the horizon dwellers". Pepi mentions that the god's sealbearer Werdjededkhnum had returned from Punt with a dwarf during the reign of Djedkare and had been richly rewarded. The decree mentions that "My Majesty will do for you something greater than what was done for the god's sealbearer Werdjededkhnum in the reign of Isesi, reflecting my majesty's yearning to see this dwarf". Relief from the tomb of Inti showing a scene of battle or siege Djedkare's expedition to Punt is also mentioned in a contemporaneous graffito found in Tumas, a locality of Lower Nubia some south of Aswan, where Isesi's cartouche was discovered.

91 and 93 George Street, as a pair, are aesthetically significant as a fine example of the Victorian Italianate style, characterised by the unusual garland decoration below the parapet (both buildings) and the decorative cartouche located on the splayed corner of 91 George Street. 91 George Street is aesthetically significant for its prominent contribution to the streetscape at the intersection of the two main streets in The Rocks, George and Argyle Streets. Both 91 and 93 are significant as contributors to the visual diversity of the streetscape. Both buildings are aesthetically significant for their contribution to the streetscape of Greenway Lane, one of the pedestrian laneways in The Rocks area which are highly significant as evocations of the colonial townscape.

Reconstruction included the cartouche with the initials of the emperor on the capital from the outer side, and the supposed coat-of-arms of never-existing Tribalia, on the inner side (boar with an arrow pierced through the head). As the motive of this coat-of-arms appeared in medieval Serbian seals and was adopted as part of the Serbian coat-of-arms after First Serbian Uprising in 1804, it was meant to show the incorporation of Serbia into the western empire. The gate was damaged already during the heavy Allied Easter bombing in April 1944. It is not known was Ahnenerbe searching for something specifically or just wanted to falsify the route by which Aryans reached Germany from Middle East.

There is no contemporary name source for this king and no Horus name could be connected to Neferkara I up to this day. In contrast, Egyptologists such as Kim Ryholt believe that Neferkara/Neferka was identical with a sparsely attested king named Sneferka, which is also thought to be a name used by king Qa'a (the last ruler of the 1st dynasty) for a short time only. Ryholt thinks that Ramesside scribes misleadingly added the symbol of the sun to the name “(S)neferka”, ignoring the fact that the sun itself was no object of divine adoration yet during the 2nd dynasty. For a comparison he points to cartouche names such as Neferkara II from the kinglist of Abydos and Nebkara I from the Sakkara table.

The Old Post Office, also known as the former Pekin Federal Building, is a historic building in Pekin, Illinois. Built in 1906, the building held Pekin's U.S. government offices; the first floor served as the city's main post office, while the second floor held various offices, including a Department of the Treasury office and an Army recruitment office. Supervising Architect James Knox Taylor designed the building in the Renaissance Revival style, in keeping with the tradition of using classical styles for federal buildings. The building's design features a red brick exterior with a limestone base and quoins; fanlights and keystones above the first-floor windows; and a limestone cornice with a parapet wall and a cartouche above the main entrance.

The temple of Seti I was built on entirely new ground half a mile to the south of the long series of temples just described. This surviving building is best known as the Great Temple of Abydos, being nearly complete and an impressive sight. A principal purpose of the temple was to serve as a memorial to king Seti I, as well as to show reverence for the early pharaohs, which is incorporated within as part of the "Rite of the Ancestors". The long list of the pharaohs of the principal dynasties—recognized by Seti—are carved on a wall and known as the "Abydos King List" (showing the cartouche name of many dynastic pharaohs of Egypt from the first, Narmer or Menes, until Seti's time).

The Demonet Building is composed of a historic townhouse and adjoining office building located on the southeast corner of Connecticut Avenue and M Street NW in Washington, D.C. Constructed in 1880, the townhouse is the last Victorian residence on Connecticut Avenue between Dupont Circle and Farragut Square that has not been significantly altered. It features an octagonal tower topped by a dome with cartouche windows. Following a multiyear legal battle to demolish the townhouse, which had been added to the District of Columbia Inventory of Historic Sites in 1979, the Demonet Building and adjoining lot were sold for what was then a record price for downtown real estate. The adjoining office building, designed by Skidmore, Owings & Merrill, was completed in 1984.

In this print, Hiroshige used bokashi in the foreground, at the horizon, in the sky, on the priest's robes, and in the square cartouche Bokashi (Japanese: ぼかし) is a technique used in Japanese woodblock printmaking. It achieves a variation in lightness and darkness (value) of a single color or multiple colors by hand applying a gradation of ink to a moistened wooden printing block, rather than inking the block uniformly. This hand-application had to be repeated for each sheet of paper that was printed. The best-known examples of bokashi are in the 19th-century ukiyo-e works of Hokusai and Hiroshige, in which the fading of Prussian blue dyes in skies and water create an illusion of depth.

Monument to Elizabeth Peryam, Heanton Punchardon Mural monument in Heanton Punchardon Church, Devon, to Elizabeth Peryam (1571–1635), daughter of Sir William Peryam and wife of Sir Robert Bassett. Within a lozenge at the top and on an escutcheon to the sinister are shown her paternal arms of Peryam: Gules, a chevron engrailed or between three lion's faces affrontes of the last. The arms of Peryam are also shown on an oval cartouche underneath, impaled by Bassett. The text is as follows: Memoriae Sacrum Dominae Elizabethae Bassett uxori Roberti Bassett militis clarissima stirpe oriundi filiae et cohaeredi Gulielmi Peryam militis Schaccarii Regii Baronis primarii Judicic integerrimi et religiosissimi piae prudenti justae patienti modestae castae temperanti constanti hospitali misericordi beneficae pauperum matri et medicae suae familiae conservatrici.

In that portion of the Elizabethan which is often considered as the Jacobean, although it was but the completer development of the former, the globular excrescences of the columns elongated themselves into equally vast and far uglier acorn-shaped supports. A good deal of inlaid work was then used, and the carving did its best to reach and render the ideas of the cinquecento. It is, indeed, styled the cinquecento period of English art, every surface being rough with arabesques of griffins, vases, rosettas, dolphins, scrolls, foliages, Cupids, and mermaids with double tails curling round them on either side. Meantime the cartouche and its straps — ligatures they were called in Italy, cuirs in France and Flanders, were still often used.

Bizarrely his own pilot had the same fear as de Tourelles, and began to turn the sloop away from the enemy. Faulknor approached him and he said he had dreamed he would die, so Faulknor took the wheel himself and sent the man to the rear of the ship, where he was almost instantly hit by a cannon ball: the only member of the crew to die.Famous Fighters of the Fleet, Edward Fraser, 1904, p.187 He came closer to the fort than originally planned, and using ladders of bamboo scaled its walls at the head of his men and had a lucky escape when a wooden cartouche (powder cartridge) box strapped to his waist was struck by grapeshot but left him unharmed.

Carved relief of the cartouche representing Thutmose III on the wall of the Precinct of Amun-Re, Karnak Scarabaeus sacer is the most famous of the scarab beetles. To the Ancient Egyptians, S. sacer was a symbol of Khepri, the early morning manifestation of the sun god Ra, from an analogy between the beetle's behaviour of rolling a ball of dung across the ground and Khepri's task of rolling the sun across the sky. They accordingly held the species to be sacred. The Egyptians also observed young beetles emerging from the ball of dung, from which they mistakenly inferred that the male beetle was able to reproduce without needing a female, simply by injecting his sperm into the ball of dung.

Caffieri also produced gilt-bronze cases for clocks, both mantel clocks and the cartel clocks that combined clock and bracket in one unified design, to be mounted on a wall. A detailed inventory of the Caffieri workshop made in 1747 enables scholars to identify some unsigned clockcases from the workshop: a fully Rococo cartel clock with a movement by Julien Le Roy is at the Getty Museum: it is inscribed fait par Caffiery in a cartouche below the dial.Wall Clock (Getty Museum) In 1740, Caffieri's wife purchased a royal privilege, which allowed the Caffieri workshop to gild bronze as well as cast it within the same workshop; ordinarily the processes were divided between two Parisian corporations, jealous of their jurisdictions, the fondeurs-ciseleurs and the ciseleurs-doreurs.

The Order, made of silver, consisted of a white-enamelled badge, which had a golden Hammer and Sickle badge surrounded by two golden panicles of wheat on a Red Star, backed by crossed hammer, plough, torch, and a red flag bearing the motto Proletarians (Workers) of all countries, Unite!. The whole was surrounded by two golden panicles of wheat; at the bottom were the letters "SSSR" (). Additional awards of the Order bore a white enamelled shield with a silver sequence number at the bottom of the obverse. A recipient of multiple Orders of the Red Banner would wear a basic badge of the Order with a numeral corresponding to the sequence of the award on a cartouche over the wheat at the bottom of the badge.

That KV4 was originally quarried for the burial of Ramesses XI is evident from the decoration in the corridor and the foundation deposits associated with the shaft. It appears however that this plan was abandoned in favour of a burial elsewhere (perhaps in Lower Egypt)Reeves, C.N., Valley of the Kings: Decline of a Royal Necropolis (Kegan Paul, 1990) p.122 The most likely explanation for Pinudjem's later restoration and the insertion of his cartouche would be that he intended to usurp the tomb at the beginning of his kingship, but this plan too was abandoned for an interment elsewhere, perhaps in the tomb of InhapiReeves, C.N., Valley of the Kings: Decline of a Royal Necropolis (Kegan Paul, 1990) p. 123 and p.

His father, William Crawford Winlock, was an assistant secretary at the Smithsonian Institution. Winlock graduated from Harvard before becoming the youngest member of the New York Metropolitan Museum of Art’s expedition to the royal necropolis at El-Lisht 25 miles south of Cairo in 1906. He was later transferred to the Kharga Oasis 100 miles west of Luxor, where he helped restore a temple of the god Amun. In 1911 Winlock began excavating the mortuary complex of the 11th Dynasty pharaoh Mentuhotep II (2010–1998 B.C.) at Deir el-Bahri in the Valley of the Kings, where he discovered the bodies of 60 soldiers slain in battle and buried in linen shrouds decorated with the cartouche of Pharaoh Mentuhotep II.H. E. Winlock, The Slain Soldiers of Neb- Hepet-Re Mentu-Hotpe.

The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. 91 and 93 George Street, as a pair, are aesthetically significant as a fine example of the Victorian Italianate style, characterised by the unusual garland decoration below the parapet (both buildings) and the decorative cartouche located on the splayed corner of 91 George Street. 91 George Street is aesthetically significant for its prominent contribution to the streetscape at the intersection of the two main streets in The Rocks, George and Argyle Streets. Although making a less prominent contribution to the streetscape, 93 George Street is of significance in continuing the uniform character of the smaller scale retail shop buildings with awnings found along George Street in The Rocks.

A gold cylinder seal bearing Menkauhor's cartouche as part of the name of his pyramid together with the serekh of Djedkare Isesi is now on display at the Museum of Fine Arts, Boston. The seal, purportedly discovered near the Pactolus river valley in western Anatolia, could attest to wide-ranging trade-contacts during the Fifth Dynasty, but its provenance remains unverifiable. The only secure depiction of the king dating to the Old Kingdom that has survived to this day is a rough, possibly unfinished, alabaster statuette showing Menkauhor enthroned and wearing the tight-fitting ceremonial robe of the Heb-sed. The statue was discovered in a cachette built during the late New Kingdom beneath the floor of a room to the west of the sacred lake at the temple of Ptah in Memphis.

The vestibule, decorated with azulejo panels The library spaces, with stacks and ornate wood ceiling The building is located in a central place, in the city of Angra do Heroísmo, on a subtle declive, with its lateral wings sitting flush with its neighbours. To the south is a small garden, with rectangular wing, while to the front is the Cathedral of the Santíssimo Salvador; and around it are various residences of notable architectural interest, including the palacete Violante Castro. The principal doorway is framed and decorated with sculpted stone, and surmounted by a large rectangular cartouche with the coat-of-arms of the Bettencourt family. The architecture conforms to a 17th-century noble residence, in an irregular "L"-shaped plan, integrating a rectangular tower with two-story facade, separated by friezes and with pilastered corners.

G.P.F. Broekman, GM 245 (2015), p.24 This implies that when Haremakhet was born, king Shebitku was already dead, which would favour a Shebitku-Shabaka succession. Portrait of Shabaqa Payraudeau notes that Shebitku's shabtis are small (about 10 cm) and have a very brief inscription with only the king's birth name in a cartouche preceded by "the Osiris, king of Upper and Lower Egypt" and followed by mȝʿ-ḫrw.[41 – JWIS III, 51, number 9; D. Dunham, (see footnote 39), 69, plate 45A-B.]. They are thus very close to those of Piye/Piankhy [42 – D. Dunham, (see footnote 39), plate 44.]. However, Shabaka's shabtis are larger (about 15–20 cm) with more developed inscriptions, including the quotation from the Book of the Dead, which is also present on those Taharqo, Tanouetamani and Senkamanisken.

Frances Peard wrote children's books for both boys and girls and fiction for adults, all drawing on her travels abroad, especially in France and India. Her fiction for adults includes Unawares (1870); The Rose-Garden (1872); Thorpe Regis (1874); Cartouche (1878); Schloss and Town (1882); The Asheldon School- Room (1883); Prentice Hugh (1887); The Blue Dragon; The Interloper; The Abbot's Bridge; Donna Teresa (1899) and Number One and Number Two (1900). Her novel The Ring from Jaipur (1904) is rather more sober than its title, which suggests jewels and Far Eastern promise. She also wrote for the Society for Promoting Christian Knowledge (SPCK) and was a friend of Christabel Rose Coleridge, Charlotte Mary Yonge and Edward Bulwer-Lytton, and in later life in Torquay with fellow novelist Anna Harriett Drury.

The mummy of Kamose is mentioned in the Abbott Papyrus, which records an investigation into tomb robberies during the reign of Ramesses IX, about 400 years after Ahmose's interment. While his tomb was mentioned as being "in a good state", it is clear that his mummy was moved at some point afterward, as it was discovered in 1857 at Dra' Abu el-Naga', seemingly deliberately hidden in a pile of debris. The painted and stuccoed coffin was uncovered by early Egyptologists Auguste Mariette and Heinrich Brugsch, who noted that the mummy was in very poor shape. Buried with the mummy was a gold and silver dagger, amulets, a scarab, a bronze mirror, and a pectoral in the shape of a cartouche bearing the name of his successor and brother, Ahmose.

Madonna and Child with Saints Roch and Sebastian. At present, almost nothing is known about his life, except what written from the cartouche of one of his most famous paintings, a Madonna and Child with Saints Sebastian and Roch, held in the parish church of Izola in which he wrote Zorzi Ventura Zaratino in Capodistria Pingieva 1603. Born probably in Zadar, Dalmatia in a year unknown, most likely the second half of the 16th century, he left only one painting across the Dalmatia: the Virgin with Six Saints in the small church of the Franciscans on the island of St. Paul, near Zadar. Traditionally it is believed that its activities in Venice and Istria had begun in 1598 when he signed and dated an Ultima Cena now kept in the parish church of Fažana.

Amongst the figures in the middle can be recognized Mary Magdalene and St. Eustace (titular of one of the most important altars in the church) with his sons and his wife. These figures are shorter than normal, as the painter imagined them to be correctly seen from below, in perspective, by the nuns of the Sant'Ambrogio convent from their separated choirs. Kneeling at the side are the work's commissioner, facing a cartouche with the write ISTE PERFECIT OPUS ("this one finished the work"), while on the left is a self-portrait of Filippo Lippi in the robes of a Carmelite monk (as he was). Standing on the sides are the two titular saints of the church: St. Ambrose (left) and St. John the Baptist (right), whose austere representation reveal the influence of Masaccio.

267 Little more is known concerning the reign of this king except that he was a short-lived successor of Nubkheperre Intef. The Danish Egyptologist Kim Ryholt has argued that Sekhemre-Heruhirmaat Intef was possibly a co-regent of Nubkheperre Intef based on a block from Koptos, which preserves Ryholt observes that the length of the damaged cartouche would fit well with the long prenomen of Sekhemre- Heruhirmaat. Ryholt suggested that Sekhemre-Heruhirmaat Intef died prematurely and was buried in a royal coffin that initially belonged to Nubkheperre Intef; hence, Sekhemre-Heruhirmaat Intef did not enjoy an independent reign of his own. The British Egyptologist Aidan Dodson, however, criticises Ryholt's proposal that Sekhemre-Heruhirmaat Intef died during the reign of his predecessor and was buried in Sekhemre-Wepmaat Intef's original royal coffin.

A late 18th-century Gustavian cartel clock by Jacob Kock, Stockholm A cartel clock is a cartouche shaped clock designed to hang directly on a wall, very commonly executed in fire-gilt bronze (a.k.a. ormolu). The form is a more unified development from a wall-mounted bracket clock standing upon its separate, complementary bracket characteristic of the Régence (1715–23), which continued to be stylish in Paris through the 1740s.A bracket clock with its complementary bracket, by Gilles Lainé, both veneered in green-stained horn, with gilt-bronze mounts, in Winthrop K. Edey;s collection, can be dated 1745-49 from its crowned c stamps in the mounts (Edey 1967, fig. 24); two similar bracket clocks that have retained their matching brackets are illustrated here (Musée du Temps, Besançon).

The main entrance is located in the center of the crossbar of the H and the end elevations of both projecting wings are elaborately finished. Four pairs of giant order Tuscan engaged columns ornament the monumental pedimented pavilion that houses the main entrance and a large stone cartouche, bearing the caduceus symbol of the U.S. Army Medical Corps, is mounted in the center of the parapet. Today, air conditioners and pipes, probably used for ventilation, protrude from all major elevations. The entire building is now (2009) vacant and in bad condition, with many broken windows and evidence of water damage on the interior.Government of the District of Columbia Historic Preservation Office, “Historic Preservation Review Board Application for Historic Landmark or Historic District Designation: Walter Reed Army Medical Center Historic District” , n.d.

Chiswick grew up as a village around St Nicholas Church from c. 1181 on Church Street, its inhabitants practising farming, fishing and other riverside trades including a ferry, important as there were no bridges between London Bridge and Kingston throughout the Middle Ages. The area included three other small settlements, the fishing village of Strand-on-the- Green, Little Sutton and Turnham Green on the west road out of London. Corinthian aedicule, heraldic cartouche, statues of Father Time and Angel of Death, in the bell tower of St Nicholas Church, Chiswick A decisive skirmish took place on Turnham Green early in the English Civil War. In November 1642, royalist forces under Prince Rupert, marching from Oxford to retake London, were halted by a larger parliamentarian force under the Earl of Essex.

Shoshenq C was the eldest son of the 22nd Dynasty pharaoh Osorkon I and queen Maatkare, the daughter of Psusennes II, and served as the High Priest of Amun at Thebes during his father's reign. Consequently, he was the most important official in Upper Egypt after the king himself. He has generally been equated with Heqakheperre Shoshenq II by the English Egyptologist Kenneth Kitchen and viewed as a short-lived co-regent to his father based on the Nile God British Museum statue 8Statue EA8 in the British Museum which identifies him as the son of Osorkon I and Queen Maatkare, daughter of Hor-Psusennes but this assumption is unproven. In the statue, Shoshenq C is called "the Master of the Two Lands" and the formula "beloved of Amun" is enclosed within a royal cartouche.

Thomas Goodwillie was a Scottish sculptor active in Moray in the nineteenth century. He is known for carving the statue of George Gordon in his robes of the office of chancellor of Marischall College, Aberdeen, in 1855, which sits atop the Duke of Gordon's Monument, and for his work with David Bryce, creating many of the sculptures that decorate Cullen House. He worked with Alexander Reid on numerous buildings, including the parish church at Inverkeithny, and the Falconer Museum in Forres, for which he carved the faces of eminent scientists into the keystones of the arched interior. He also carved the bull's head into the keystone of the arch at the west front of Alexander Ross's large Italianate range at Home Farm in Kinloss, and he created the cartouche featuring Saint Giles in the town hall in Elgin.

The broad outlines, including large porches on the north and south sides, of the structure measure 19' deep by 72' wide and there are eight rooms on the first floor and three finished rooms (with three others evidently finished in the late 19th century) on the second story. The home was dramatically altered over the years, especially when it was used for military school classrooms from 1930 to 1935 and as a residence and then office and nurses' quarters for El Encanto sanitarium from 1940 to 1963, when the home and cemetery were purchased by the City of Industry. Consequently, many original details have long been lost, though there are a few notable survivors, including the ca. 1870 interior staircase, two marble coal-burning fireplaces from the same period, and a ceiling cartouche from that era.

Dagger bearing the name Ahmose I on display at the Royal Ontario Museum, Toronto Cartouche of Ahmose I on the dagger pommel, Royal Ontario Museum, Toronto The conflict between the local kings of Thebes and the Hyksos king Apepi had started during the reign of Ahmose's father, Seqenenre Tao, and would be concluded, after almost 30 years of intermittent conflict and war, during his own reign. Seqenenre Tao was possibly killed in a battle against the Hyksos, as his much-wounded mummy gruesomely suggests, and his successor Kamose (likely Ahmose's elder brother) is known to have attacked and raided the lands around the Hyksos capital, Avaris (modern Tell el-Dab'a). Kamose evidently had a short reign, as his highest attested regnal year is year 3, and was succeeded by Ahmose I.Dodson, Aidan. Kamose, Wiley Online Library. 2012.

Besides the change of the crown, the shields started to be represented, on the flags, not only in the traditional round bottom shape ("Iberian type"), but also in other formats like the samnitic ("French type"), the horsehead ("Italian type") or the oval ("cartouche") shapes. Instated by an absolute monarch like John V, this flag endured through almost the entire absolutist period in Portugal—John V (1707–1750), Joseph I (1750–1777) and Maria I (1777–1816). During the second half of the 17th century, the maritime use of the white flag with the Royal coat of arms of Portugal was increasingly restricted to the war ships. An ordinance of 1692 expressly banned the use of this flag by the Portuguese merchant ships, restricting its use to ships with 20 or more cannons and with a complement of 40 or more men.

Statue of Queen Anne given by Robert Rolle in 1708 to the Corporation of Barnstaple. Queen Anne's Walk, Barnstaple In 1708 Robert Rolle donated to the Corporation of Barnstaple, Devon, a large stone statue of Queen Anne, the victorious monarch of the recent Battle of Blenheim in 1704, which was placed atop the newly constructed Mercantile Exchange, which thenceforth bore the name Queen Anne's Walk. Underneath the statue, possibly intended to be free-standing and not on top of this building, is its original base, now seated somewhat incongruously above the Royal Arms. On the base is an escutcheon showing a cartouche with the arms of Rolle, now much worn, above which is the Rolle crest: A cubit arm erect vested or charged with a fess indented cotised azure in the hand a roll of parchment.

The facade of the church, the work of Domingos Fernandes, is of Mannerist style and has three portals and three floors compartmentalized for cornices; On the facade there is a large body theatrically decorated by pediment with a cartouche with the arms of the Society of Jesus and flanked by scrolls. The greatest treasure in the interior of the church is the transept chapel where lie, since 1655, the remains of Francisco Xavier, in a silver urn finely crafted by local artists. The urn is located in a mausoleum executed by the Florentine artist Giovanni Battista Foggini in 1697. This monument in Italian marble, was offered by the Grand Duke of Tuscany, Cosimo III of Medici, and set in place by a specially-sent artist Placido Francesco Ramponi, who arrived in Goa in 1698 for this purpose.

The principal words typically used to distinguish houses of worship in Western Christian architecture are abbey, basilica, cathedral, chapel and church. The Catholic Church has used the word temple in reference of a place of worship on rare occasions. An example is the Roman Catholic Sagrada Familia Temple in Barcelona, Spain and the Roman Catholic Basilique du Sacré-Cœur Temple in Paris, France. Another example is the Temple or Our Lady of the pillar, a church in Guadalajara, Mexico. Also, some Protestant churches use this term; above main entrance of the Lutheran Gustav Vasa church in Stockholm, Sweden is a cartouche in Latin which reads “this temple (...) was constructed by king Oscar II.” Beginning in the late eighteenth century, following the Enlightenment, some Protestant denominations in France and elsewhere began to use the word temple to distinguish these spaces from Catholic churches.

A bone fragment of Saint Cesarius is preserved in this church.Ex ossibus S. Caesarii: Ricomposizione delle reliquie di San Cesario diacono e martire di Terracina, testi ed illustrazioni di Giovanni Guida, [s.l.: s.n.], 2017 Other relics of Saint Caesarius deacon (with the cartouche in Latin " 1 November S. Caesarii diac. m.") are preserved in Saint Anthony’s Chapel in Pittsburgh (Pennsylvania); in St. Martha Church in Morton Grove (Illinois); in St. Joseph Cathedral in Buffalo (New York); in St. Raphael's Cathedral (Dubuque, Iowa); in the Shrine of the Holy Relics in Maria Stein (Ohio); in Basilica of the Sacred Heart (Notre Dame), Indiana; in a private collection in Gnesen Township, St. Louis County, Minnesota; in Basílica of São Sebastião in Rio de Janeiro; in Paróquia Nossa Senhora das Graças in Caieiras; and in the Manila Cathedral (Philippines).

The only battle fought in New Hampshire was the raid on Fort William and Mary, December 14, 1774, in Portsmouth Harbor, which netted the rebellion sizable quantities of gunpowder, small arms and cannon. (General Sullivan, leader of the raid, described it as, "remainder of the powder, the small arms, bayonets, and cartouche-boxes, together with the cannon and ordnance stores") over the course of two nights. This raid was preceded by a warning to local patriots the previous day, by Paul Revere on December 13, 1774, that the fort was to be reinforced by troops sailing from Boston. According to unverified accounts, the gunpowder was later used at the Battle of Bunker Hill, transported there by Major Demerit, who was one of several New Hampshire patriots who stored the powder in their homes until it was transported elsewhere for use in revolutionary activities.

In 1970 a copy of a painting by Mattia Preti, portraying two Saints of Health Cosmas and Damian, was transferred from St Luke's Hospital chapel to the hall at the Castellania. An inscription, found on a cartouche, above the main door of the hall reads: Statue of Lady Justice at the Castellania The chapel was dedicated to Our Lady of Sorrows (also called the Madonna di Pietà or Mater Dolorosa). After being deconsecrated in the late 19th century, the room was used for other purposes, and only the limestone frame, where used to be the titular painting which was retrieved during restoration works in 1991, still remains from the chapel's original interior. An ornate fountain is located at the building's main courtyard, above which is a niche with a statue and above it an elaborate sculpture of the coat-of-arms of Pinto.

Canopic Jars of Tutankhamun have distinctively female features; many scholars argue they originally were meant for a female pharaoh and repurposed for Tutankhamun. According to Nicholas Reeves, almost 80% of Tutankhamun's burial equipment was derived from Neferneferuaten's original funerary goods, including his famous gold mask, middle coffin, canopic coffinettes, several of the gilded shrine panels, the shabti-figures, the boxes and chests, the royal jewelry, etc.Nicholas Reeves Tutankhamun's Mask Reconsidered BES 19 (2014), pp.511-522Peter Hessler, Inspection of King Tut's Tomb Reveals Hints of Hidden Chambers National Geographic, 28 September 2015 In 2015, Reeves published evidence showing that an earlier cartouche on Tutankhamun's famous gold mask read, "Ankheperure mery-Neferkheperure" or (Ankheperure beloved of Akhenaten); therefore, the mask originally was made for Nefertiti, Akhenaten's chief queen, who used the royal name Ankheperure when she assumed the throne after her husband's death.

A box inscribed for Hatshepsut as pharaoh, containing the remains of a mummified liver or spleen was recovered from the DB320 royal cache.Reeves, C.N., Valley of the Kings, (kegan Paul, 1990) p.17 Other items associated with Hatshepsut, including the legs and footboard of a couch or bed and a fragmentary cartouche-shaped lid are of uncertain origin, but might come from either the Deir el Bahari cache or KV6 (tomb of Ramesses IX). Fragments of at least one anthropoid coffin belonging to a mid-eighteenth dynasty female ruler (presumably Hatshepsut), fragmentary wooden panels with decoration that links them to objects found in KV20, and a faience vessel, possibly belonging to Thutmose I, were recovered from the shaft in the burial chamber of KV4, together with remains of royal funerary equipment belonging to several other New Kingdom rulers.

Ancient Egypt: This core exhibit blends history and science in its presentation of the mummification traditions of Ancient Egypt and other examples of mummification from around the world. Artifacts include the authentic remains of two Egyptian mummies, painted mummy coffins and masks, amulets, pottery, and ushabti — all of which date primarily from the Late Period and from the Ptolemaic Dynasty. The exhibit also includes a rare child sarcophagus (305-30 B.C.E.), one of seven known to exist in all museum collections around the world. Also on display are several artifacts from the ancient city of Amarna that Akhenaten, father of King Tut, ruled. One of the artifacts from the Amarna collection, gifted to the museum from San Diego philanthropist Ellen Browning Scripps, is known as ‘The Missing Cartouche of Nefertiti’, one of the most significant findings from the excavations of the ancient city.

His generosity is recorded on a funeral cartouche, originally mounted in the chapel in Lucton but now in the dining hall of the school. By Act of Parliament in 1708, Pierrepont established a free school in Lucton, based on the tithes due him from estates and manors such as those in Yarpole, Bircher, Luston and Eyton. The school was founded as a Bluecoat school (although the governors provided for pupils at Lucton the cheaper alternative of brown coats) and the building was erected on land purchased from Pierrepont’s friend, Sir Herbert Croft of nearby Croft Castle. Pierrepont himself set out detailed rules for the foundation and running of the School, aided by his parish priest at St. Botolph, Aldgate, Rev'd Dr White Kennett (later 16th Bishop of Peterborough.) His school was, he decided, to provide a sound Anglican education, as well as studies in Greek, Latin, reading, writing and arithmetic.

Drawing of the list in 1843 The Karnak King List, a list of early Egyptian kings engraved in stone, was located in the southwest corner of the Festival Hall of Thutmose III, in the middle of the Precinct of Amun-Re, in the Karnak Temple Complex, in modern Luxor, Egypt. Composed during the reign of Thutmose III, it listed sixty-one kings beginning with Sneferu from Egypt's Old Kingdom. Only the names of thirty-nine kings are still legible, and one is not written in a cartouche (a border used normally to surround the name of a king). It is not a complete list of the Egyptian pharaohs, as other kings are known from other ancient lists, but this list is valuable as it contains the names of kings of the First and Second Intermediate Periods, which are omitted in most other king lists.

Red granite fragment bearing the cartouche of Thutmose II. Probably from a throne of a seated statue. From Thutmose III Temple at Koptos, Egypt. 18th Dynasty Manetho's Epitome has been a debated topic among Egyptologists with little consensus given the small number of surviving documents for his reign, but a 13-year reign is preferred by older scholars while newer scholars prefer a shorter 3-4 year reign for this king due to the minimal amount of scarabs and monuments attested under Thutmose II. It is still possible to estimate when Thutmose II's reign would have begun by means of a heliacal rise of Sothis in Amenhotep I's reign, which would give him a reign from 1493 to 1479 BC, although uncertainty about how to interpret the rise also permits a date from 1513 to 1499 BC,Helk, Wolfgang. Schwachstellen der Chronologie- Diskussion. pp. 47–49.

The Triumphal Relief of Shoshenq I near the Bubastite Portal at Karnak, depicting the god Amun-Re receiving a list of cities and villages conquered by the king in his Near Eastern military campaigns. He pursued an aggressive foreign policy in the adjacent territories of the Middle East, towards the end of his reign. This is attested, in part, by the discovery of a statue base bearing his name from the Lebanese city of Byblos, part of a monumental stela from Megiddo bearing his name, and a list of cities in the region comprising Syria, Philistia, Phoenicia, the Negev, and the Kingdom of Israel, among various topographical lists inscribed on the walls of temples of Amun at al-Hibah and Karnak. The fragment of a stela bearing his cartouche from Megiddo has been interpreted as a monument Shoshenq erected there to commemorate his victory.

The scenes depicted are taken from chapters 12-24 of the Book of Genesis and feature "Departure of Abraham; the Return of Sarah; the Separation of Abraham and Lot; the Meeting of Abraham and Melchizedek; God appears to Abraham; the Circumcision of Isaac and the Expulsion of Hagar; the Sacrifice of Isaac; the Purchase of the Field of Ephron; the Oath and Departure of Eliezer; and Eliezer and Rebekah at the Well." Each tapestry is surrounded by a wide, highly decorated border. The upper section of each border features a Latin summary of the story depicted; for example, in the upper section of the Sacrifice of Isaac, a central cartouche, among scrolling acanthus leaves, bears the inscription "" ("Abraham, at God's command, sacrifices his only begotten son, Isaac"). The side and lower sections are divided into a series of architectural niches, featuring allegorical figures with an accompanying Latin description.

In modern Canadian heraldry, and certain other modern heraldic jurisdictions, women may be granted their own arms and display these on an escutcheon. Life peeresses in England display their arms on a lozenge. An oval or cartouche is occasionally also used instead of the lozenge for armigerous women. As a result of rulings of the English Kings of Arms dated 7 April 1995 and 6 November 1997, married women in England, Northern Ireland and Wales and in other countries recognising the jurisdiction of the College of Arms in London (such as New Zealand) also have the option of using their husband's arms alone, marked with a small lozenge as a difference to show that the arms are displayed for the wife and not the husband; or of using their own personal arms alone, marked with a small shield as a brisure for the same reason.

Since very early, the round bottom shield has been the preferred shape to display the coat of arms in Portugal, causing this shape to often be referred as the "Portuguese shield". In 1911, it was adopted as the standard shield shape for the national coat of arms, and in 1930 became mandatory for the coats of arms of local governments. In the past, however, other formats were frequently used, such as the modern French style in the late 19th century, the cartouche (oval) in the early 19th century, the Italian style (horse head shape) in the 18th century, the heater shield in the 14th century and the Norman shield (almond shape) in the 12th century. Women's coats of arms are always represented in a lozenge, with the single exception of those of the Portuguese queens (regnants or consorts), which are represented in a shield.

Stela depicting Setau and his wife Nofretmut Setau attracted the king's attention and records that he was promoted "to be High Steward of Amen. I served as Superintendent of the Treasury and Festival Leader of Amen" before finally being appointed as the Viceroy of Nubia. Setau was determined to set out his mark in Nubia and records that he: Stela, now in the National Museum of Sudan, with Setau, viceroy of Nubia, and his wife Nefro-mut worshipping Rameses II, whose Cartouche appears on the left side. Apart from the temple of Wadi es-Sebua, Setau also erected another temple at Gerf Hussein on the West Bank of the Nile around Year 45 of Ramesses II. This temple, called the 'House of Ptah' was a hemi-speos or a partially rock cut and partially exposed temple which was dedicated to Ptah, Ptah-Tatenen and Hathor and associated with the pharaoh himself.

Murnane, W.; The End of the Amarna Period Once Again, 2001 Most name changes in the Amarna period involved people incorporating -Aten into their name or removing an increasingly offensive -Amun element. Merit-Aten would have had no such need, nor would she need to adopt pharaonic airs such as a double cartouche simply to act on behalf of her husband. Since Nefertiti has now been confirmed to be living as late as Year 16 of Akhenaten's reign in a 2014 journal paper, however, the Meritaten theory becomes less likely because she would no longer be the most likely living person to be using either the name Neferneferuaten nor "Effective for her husband" as the epithet of a ruling female pharaoh. Secondly, both Aidan Dodson and the late Bill Murnane have stressed that the female ruler Neferneferuaten and Meritaten/Meryetaten cannot be the same person.

Firstly, in order to avoid accidental percussion inside the Lebel tube magazine and in order to receive the pointed bullet tip of the cartridge that followed, all the French-manufactured military Balle D and Balle N ammunition had a circular groove etched around each primer pocket. Moreover, the Berdan primer on each French-made military Balle D round was further protected against accidental percussion by a thick, convex primer cover which was crimped in after 1915, the "Balle D a.m." The last type of Lebel military issue ammunition to be introduced was the Cartouche Mle 1932N, using a cupro-nickel, silver-colored, jacketed spitzer boat-tailed lead-cored bullet which was only suitable for Lebel and Berthier rifles marked "N" on top of the receiver and barrel. This 8mm Lebel heavier Balle "N" ammunition had originally been designed to increase the range of the Hotchkiss machine gun.

Of these works two are signed.Attributed to Egidius Nuemans (second half of 17th Century), A classical fountain with a garland of flowers, fruit, and a gilt vessel, in a landscape at Dorotheum All three works depict a flower still life (one in the form of a flower garland) with a landscape element. Insects and birds are included in two of the works.Egidus Nuemans, A stone cartouche surrounded by garlands of pink roses, tulips, poppies and other flowers and birds with an Italianate landscape in the centre at Christie's One of his works referred to as Roses, tulips, peonies, carnations, morning glory, thistle and other flowers with butterflies and a bumblebee, in a sculpted urn on a stone ledge with grapes and apricots, a classical villa (At Christie's, 13 January 2016, London, lot 117) has in the past been attributed to Gaspar Peeter Verbruggen the Younger.

After studying under Giovanni Battista Foggini, Fuga settled in Rome in 1718. Throughout the 1720s he worked on three projects: submitting a design for the Trevi Fountain in 1723, and 2 designs for façades for the churches San Giovanni in Laterano, 1723, and Santa Maria sopra Minerva, 1725. In 1730, after a brief stay in Naples, Fuga was commissioned by Pope Clement XII to design his family home Palazzo Corsini, Rome and then later to build the Coffee House of the Quirinal Palace as a reception room for Benedict XIV Lambertini, His first significant work was in Naples. He was commissioned to design the richly decorated chapel of the Palazzo Cellamare, as well as its rusticated gate to the gardens with a scrolling pediment and a sculptured cartouche of arms, (1726--1727); Fuga's patron was the infamous ambassador, Antonio del Giudice, Prince of Cellamare.

619 San Crisogono, until 1768 the national church of the Corsicans in Trastevere, Rome, burial place of several Corsican military officers In practice, though, all of these decrees went unenforced, and their only effect was to improve group morale of the Corsicans in Rome, which began to integrate successfully into 16th-century Roman society.Esposito (1986), p. 621 In Renaissance Italy, Corsicans had the reputation of being courageous men; in the Gallery of Maps in the Vatican, painted between 1580 and 1583, Italian cartographer Ignazio Danti wrote in the cartouche above the map of the island: "Corsica has received four major gifts from Nature: its horses, its dogs, its proud and courageous men and its wines, most generous, that princes hold in the highest esteem!". Consequently, it was not difficult for Corsicans to find employ as soldiers in the service of the popes, often attaining officer rank and high social status.

In 2014, two giant statues of Amenhotep III that were toppled by an earthquake in 1200 BC were reconstructed from more than 200 fragments and re-erected at the northern gate of the king's funerary temple. One of the most stunning finds of royal statues dating to his reign was made as recently as 1989 in the courtyard of Amenhotep III's colonnade of the Temple of Luxor where a cache of statues was found, including a -high pink quartzite statue of the king wearing the Double Crown found in near-perfect condition. It was mounted on a sled, and may have been a cult statue. The only damage it had sustained was that the name of the god Amun had been hacked out wherever it appeared in the pharaoh's cartouche, clearly done as part of the systematic effort to eliminate any mention of this god during the reign of his successor, Akhenaten.

Unlike many other European mapmakers of the time who outright appropriated Murillo's map, Bellin had the intellectual integrity to fully credit Murillo as his source, an open acknowledgement shown in the title cartouche of Bellin's map which came out the same year as the original work by Murillo. Shown in Bellin's map was an island named "Limasava", a word invented in 1667 by Spanish friar, Fr. Francisco Combés, S.J., to refer to the way station of the Armada de Molucca under the command of the Portuguese captain-general Fernao de Magalhaes during its navigation in Philippine waters. Combés, who had not read a single eyewitness account of the Magellan expedition relied on two sources, the hopelessly garbled Italian translation of the Antonio Pigafetta account by Giovanni Battista Ramusio and the secondhand account by Antonio de Herrera y Tordesillas. Ramusio wrote the fleet anchored in March–April 1521 in Butuan in Mindanao, and from there sailed for Cebu with a brief stopover at "Messana".

A Canadian fur trader in 1777. Cartouche from alt= John MacDonald of Garth A canoe of the rival Hudson's Bay Company in 1869, carrying the artist, Frances Anne Hopkins, and her husband, Edward Hopkins, secretary to the Governor of the Hudson's Bay Company, in similar style as to the partners of the North West Company Alexander Henry (1739–1824), vice- chairman of the Beaver Club, published his account of living with the Ojibwa and subsequent explorations (1760-76) before becoming a partner of the North West Company. He introduced John Jacob Astor to the Club and the fur trade at Montreal In 18th century North America, the fur 'barons' of Montreal might only have been compared to the tobacco 'lords' of Virginia for their wealth and grand style of living. The members of the Beaver Club were bon vivants, renowned for the Scottish Highland hospitality they offered to their guests and for the jovial, rollicking behaviour that carried on at their meetings.

This movie was to be his last hit with the cinema-going public, although he was not able to enjoy the success, passing away from cancer on 26 November 2004. Throughout his career, de Broca's work alternates between two styles: large-scale productions like Swords of Blood (Cartouche), King of Hearts (Le Roi de cœur) or On Guard (Le Bossu), and lively, punchy contemporary adventure-comedies like That Man from Rio (L'Homme de Rio), The Man from Acapulco (Le Magnifique) or Practice Makes Perfect (Le Cavaleur). Yet even this dual classification is not easily applied to Philippe de Broca's work, because the man himself hated conventions and enjoyed blurring the line between the real world and the imaginary. His films, which may at first glance seem lightweight, are being re-assessed by cinema- lovers as a thoughtful life's work, which asks questions about society in the second half of the 20th century.

Lord and Lady Carnarvon often spent the winter in Egypt, where they bought antiquities for their collection in England. In 1906 Lord Carnarvon obtained a concession to excavate a site near Luxor, and later one within the Valley of the Kings. From 1907, Lord Carnarvon employed Howard Carter to supervise the excavation work. By 1922 little of significance had been found and Lord Carnarvon decided this would be the final year he would fund the work. However on 4 November 1922, Carter was able to send a telegram to Lord Carnarvon, in England at the time, saying: "At last have made wonderful discovery in Valley; a magnificent tomb with seals intact; re-covered same for your arrival; congratulations". Lady Evelyn accompanied her father, and by 24 November 1922 both had arrived in Egypt and were present when the full extent of the stairway to the tomb was cleared and a seal containing the Pharaoh Tutankhamun’s cartouche was found over the doorway.

Original cartouche on the wall with the number "96" Modern wall mosaics Access to the station was originally from stairways along the sidewalks of Broadway, to the extreme north end of the side platforms, then to the center island platforms via an underpass.96th Street NYCSubway Retrieved September 1, 2008 As of April 5, 2010, a new headhouse in Broadway's center median between 96th and 95th Streets rendered those entrances obsolete. New staircases and elevators descend to the platforms from the central station building. A former public restroom now being used as a community center in the median of Broadway north of 96th Street is sometimes mistaken for a former subway station headhouse; however, this structure was built decades after the subway station and conforms to the design of other public restroom buildings in New York CityForgotten NY New York's Beaux-Arts Bathrooms rather than to the design of IRT subway headhouses such as 72nd Street.

This contains heraldic charges representing the attributes of the institution, the most common being: cross (representing God and the support to the sick during their life), skull and crossed bones (representing spiritual comfort given in death), the legend "MIZA" (old abbreviation for misericórdia "mercy"), the allegoric figure of the Mercy, the image of Our Lady and images of Saints. The two shields are usually oval and represented in a cartouche, surrounded by a laurel wreath and frequently topped by the Portuguese royal crown (representing the royal tutelage of the misericórdias since their foundation). After the implantation of the republic, some misericórdias opted by less "monarchic" achievement, eliminating the royal crown and instead placing the two shields in courtesy over the armillary sphere of the present Portuguese coat of arms. Besides this, many variations occur, like the representation of the arms of the misericórdia and of Portugal in the same shield parti per pale, or the replacement of the arms of Portugal by those of the local municipality.

Donation stela of Shabaka. Shabaka appears standing to the right, with the cartouche designating him. Shabaka succeeded his uncle Shebitku on the throne, and adopted the throne name of the Sixth Dynasty ruler Pepi II Neferkare. Shabaka's reign was initially dated from 716 BC to 702 BC by Kenneth Kitchen. However, new evidence indicates that Shebitku died around 705 BC because Sargon II (722–705 BC) of Assyria states in an official inscription at Tang-i Var (in Northwest Iran)—which is datable to 706 BC—that it was Shebitku, Shabaka's predecessor, who extradited Iamanni of Ashdod to Shebitku as king of Egypt.G. Frame, The Inscription of Sargon II at Tang-i Var, Orientalia 68 (1999), pp. 31-57Dan'el Kahn, "The Inscription of Sargon II at Tang-i Var and the Chronology of Dynasty 25," Orientalia 70 (2001), pp. 1–3 This view has been accepted by many Egyptologists today such as Aidan Dodson,Journal of Egyptian Archaeology 88 (2002) p.

Initially, the palace was inhabited by the king's courtiers and later by Józef Antoni Poniatowski, the king's nephew. The cartouche above the main entrance was decorated with his initials JP. In the 19th century and during the People's Republic of Poland the palace served as a guest house and opened its doors to eminent guests such as Napoleon I and U.S. President Richard Nixon. On September 15, 1958 the first meeting of the ambassadors of the People's Republic of China and the United States took place in the palace, which is considered as the first attempt to establish contacts between the two countries. The facade is adorned with a huge shell-bowl with sculptures by Jakub Monaldi depicting Zephyr and Flora, while the mild warping of the roof refers to the popular Chinese designs Large parts of the original interior furnishings survived the last world war - including paintings by Jan Bogumił Plersch from 1778 and Antoni Gerżabka as well as stucco decorations and sculptures.

Heraldic cartouche on monument to Sir John Dodderidge (1555–1628), Justice of the King's Bench, Lady Chapel of Exeter Cathedral, showing arms of Dodderidge (Argent, two pales wavy azure between nine crosses croslet gules) impaling the arms of his third wife Anne Culme, grand-daughter of Hugh II Culme (died 1545) of Molland-Champson (Azure, a chevron ermine between 3 pelicans vulning their breasts or) John III Culme (died 1526), MP for Barnstaple in 1512.History of Parliament biography by Hawkyard The Visitations of Devon gives his father as Hugh Culme, husband of Alice Tracey (daughter of William Tracey of Gloucester), whilst Hawkyard (1982) gives his father as John Culme husband of Avys.History of Parliament biography by Hawkyard John III Culme married Alice Walter, the daughter and heiress of John Walter in the parish of Abbotsham, near Bideford,See also Walter family monument in Ashbury Church near Black Torrington. Henry Walter d.s.p.

The painting depicts the presentation at the temple, an event which, according to the Hebraic Law, should occur forty days after a child's birth, to allow the mother to purify herself. Within two central, slender columns are the Madonna (holding the cloth in which the child was kept), the child (with moving feet and a finger in the mouth), and Simeon the Righteous, who is speaking and taking the child in his arms. At the far left is Joseph, preceded by two women: the latter have no aureolae, to mark that they have no holy status. At the right is Anna, accompanied by a Latin cartouche with a citation from the Gospel of Luke (2:38- And coming up at that very hour she gave thanks to God, and spoke of him to all who were looking for the redemption of Jerusalem.) Behind the altar is a priest with the doves for the sacrifice and, in the left hand, the knife.

Katzew, Ilona. Casta Painting. New Haven: Yale University Press 2004, 180, 182 The painting, now in the Real Academia Española de la Lengua, Madrid, is one of the few signed and dated casta paintings, with a cartouche at the bottom reading: "These castes of New Spain were painted (upon the request of Lieutenant Colonel Antonio Rafael Aguilera y Orense) by his great friend and art enthusiast Don Ygnacio María Barreda y Ordones, Bachiller en Philosophy, in Mexico [City] on 18 February 1777." [Estas Castas de nueba España pinto (a instancias del Thenient Coronel de Exercito Don Antonio Rafael de Aguilera y Orense) Su dignissimo Amigo, y apasionado a este arte, Don Ygnacio María Barreda y Ordoñes Br [Bachiller] en Fphia [Filosofía], en México a 18 de Febrero del Año de 1777.’’] In this casta painting, there are 16 groupings of parents and offspring, the usual number in most sets, with indios bárbaros or Chichimecas in a separate cell at the bottom.

A cartouche on the frame records the work was commissioned by Battista d'Antonio da Ceva "for his devotion[s]". As shown in documents rediscovered by Samminiatelli, the work was delivered between February and March 1513 at a fee no greater than 35 florins. Vasari's Lives of the Artists argued the work's main influence was Perugino but in fact that artist's influence is absent in favour of Sienese and Florentine art of the period, particularly Fra' Bartolomeo's simplification of volume, Sodoma's fluidity and Filippino Lippi's expressive restlessness. The cherubs in cloud recall Raphael's recent Foligno Madonna, which Beccafumi may have seen in Rome as a work in progress, while the restlessly moving and individualised figures and contrasting colours both prefigure Mannerism Alfredo Aldrovandi, Nicoletta Bracci, Paola Bracco, Ciro Castelli, Ottavio Ciappi, Marco Ciatti, Mauro Parri, Alessandra Ramat and Andrea Santacesaria, 'Ricerche e Interventi su Alcuni Dipinti di Domenico Beccafumi', OPD Restauro, No. 4 (1992), pp.

Back in Europe, responding to a characteristically devious provocation from Chancellor Bismarck, the French parliament voted to declare war against Prussia on 19 July 1870. Lambert's unit found itself close to Sedan where the French commander Marshal de MacMahon had decided to concentrate military resources in order to block an anticipated Prussian military advance through Belgium. By this time Lambert was serving with the 2nd Marine Infantry Regiment ("2e Régiment d'Infanterie de Marine") which formed part of the so-called Blue Division which in a series of savage engagements during the wider Battle of Sedan captured and then recaptured Bazeilles from I Royal Bavarian Corps under the command of General von der Thann. With a handful of men Lambert was given the task of organising the defence of the Rougerie Inn which had become a key focus of the fighting and which later became a little museum known as the House of the Last Cartridge ("Maison de la dernière cartouche").

SR. PE. / JOSÉ FURTADO MOTA, / NO 50º ANIVERSÁRIO / DA SUA ENTRADA / NESTA PARÓQUIA EM 1909, / ONDE REALIZOU VÁRIOS E / IMPORTANTES MELHORAMENTOS :Homage / to Reverend Sir Father / José Furtado Mota / on the 50th Anniversary / of his entry / to this parish in 1909 / where he realized various and / important improvements On each of the walls of the nave, in the centre, is a door to the exterior, flanked by two high windows. Opposite the epistole between the last window and the triumphal arch, is a pulpit over stone and corbel. The archway accesses the altar and chancel with complimentary doors and windows on each wall (one to the sacristy and one to the exterior), and the structure is flanked by two retables oriented on 45º angles. At the end of altar is a retable that includes cartouche with a crown and the inscription: :NOSSA SENHORA DOS MILAGRES :Our Lady of Miracles The retables and pulpit guardrail are in painted Revivalist woodwork.

Gibbs published the first edition of A Book of Architecture, containing designs of buildings and ornaments in 1728, dedicated to one of his patrons John Campbell, 2nd Duke of Argyll. It was a folio of his building designs both executed and not, as well as numerous designs for ornaments and including 150 engraved plates covering 380 different designs. He was the first British architect to publish a book devoted to his own designs.page 210, British Architectural Books and Writers 1556–1785, Eileen Harris, 1990, Cambridge University Press, The major works illustrated include St Martin-in-the-Fields (including the unexecuted version with a circular nave), St Mary le Strand, the complete schemes for King's College Cambridge and the Public Building (including the Senate House) at Cambridge University, numerous designs for medium-sized country houses, garden building and follies, obelisks and memorial columns, church memorials and monuments, as well as wrought-iron work, fireplaces, window and door surrounds, Cartouche (design) and urns.

This was a publication project of the Flemish painter Anselm van Hulle who was present in Münster where he had made portraits of the delegates to the conference. As court painter to the Prince of Orange, van Hulle had been able to obtain a printing privilege in March 1648. He had reproductions made from his sketches by Mattheus Borrekens and other leading engravers in Antwerp, such as Paulus Pontius, Coenraet Waumans, Cornelis Galle the Younger and Pieter de Jode II. The engravings were made on copper plates with a size of approximately 30 x 20 cm (Folio format) and printed on large-format paper sheets of up to 41 x 32 cm. The prints show the bust of the delegate in an oval in which his motto is inscribed, above him the coat of arms of the entity that the delegate represents at the peace negotiations, below the coat of arms of the delegate's family and below this a cartouche with the delegate's titles.

The east and west faces have pairs of bronze statues of French military figures associated with the American Revolutionary Wars. The east face has statues of Comte d'Estaing and the Comte de Grasse in military uniform, conversing, with an anchor symbolising their command of French naval forces, and the west face has statues of the Comte de Rochambeau and the Chevalier du Portail, also in military uniform, with a cannon symbolising their command of French armies. Apart from the Chevalier du Portail, all remained well-known revolutionary figures in the late 19th century: in 1890, The New York Times commented that "The commanders of the fleets are too well known to require comment, and Rochambeau is even better known … but Duportaille is not so familiar." The north face has two bronze cherubs before a cartouche with a commemorative inscription, which reads: "BY THE CONGRESS / IN COMMEMORATION / OF THE SERVICES / RENDERED BY / GENERAL LAFAYETTE / AND HIS COMPATRIOTS / DURING THE STRUGGLE / FOR THE / INDEPENDENCE / OF THE UNITED STATES / OF AMERICA".

The British Museum holds two prints by John June after Augustine Heckel: Harrowing the Ground and Laying the Ground smooth & even for the Rice, by a second Harrowing, dating from about 1775. The Victoria and Albert Museum holds: Heckel's A New Book of Sheilds [sic] usefull for all sorts of Artificers, an etching on paper dating from 1752; a gold box engraved by Heckel; a drawing of a design, dating from about 1740, described as being "for a cartouche with an acanthus leaf architechtonic frame surmounted by vases and supported by a caryatid in the form of a winged putto"; and a print from 1750–70, A Select Collection of the most beautiful Flowers, Drawn after Nature by A. Heckell; disposed in their proper Order in Baskets: Intended either for Ornament or the Improvement of Ladies in Drawing and Needlework. Heckel's The Battle of Culloden (1746; reprinted 1797) is held by the National Galleries of Scotland. His colour engraving of The Countess of Suffolk's House (1749) is held at Marble Hill House, Twickenham, London.

According to the two Egyptologists Aidan Dodson and Dyan Hilton,Aidan Dodson & Dyan Hilton, The Complete Royal Families of Ancient Egypt, Thames & Hudson, 2004, , pp. 200-201. Nodjmet had several children with her first husband Piankh: Heqanefer, Heqamaat, Ankhefenmut, Faienmut (a female) and, the most famous of all, the future High Priest of Amun/Pharaoh Pinedjem I. Nodjmet became Piankh's most trusted confidant, and every time he had to fulfill his business in Nubia, the management of Thebes was left to her. When around 1070 BCE Piankh died, Herihor was proposed as his successor; Nodjmet, however, managed to keep her prerogatives marrying this man.John Taylor, Nodjmet, Payankh and Herihor: The end of the New Kingdom reconsidered, in Christopher J. Eyre (ed), Proceedings of the Seventh International Congress of Egyptologists, Leuven 1998, pp. 1143-55. Later, Herihor claimed “kingship” – although only inside the borders of the Temple of Amun at Karnak – Nodjmet effectively became his “queen”: her name was inscribed inside a cartouche and later she bore titles such as Lady of the Two Lands and King's Mother.

The design involved a symmetrical main frontage with eleven bays facing onto the churchyard with the end three bays on each side slightly projected forward; the central section of three bays featured an arched doorway on the ground floor flanked by Ionic order columns with a segmental pediment containing a cartouche; there was an oriel window on the first floor and a window with a fanlight on the second floor flanked by large Ionic order columns spanning the second and third floors; there was a pediment at roof level. St Margaret's House, another 18th century building located to the east of the old shire hall, was acquired by the county council in 1932 and subsequently incorporated into the complex for use as additional county council offices. A large modern extension, designed by McMorran & Whitby and often referred to as the new shire hall, was added in 1968. After the county council was abolished in 1974, the new shire hall became surplus to requirements, but following conversion works, the building re-opened as a Premier Inn Hotel in October 2015.

Vasseur's one-act operettas are: Un fi, deux fi, trois figurants (1872); Mon mouchoir (1872); Le grelot (1873); L’Opoponax (1877); Royal amour (1884); Au premier hussard (1883); Le royaume d'Hercule (1896); Au chat qui pelote (1897); and Dans la plume (1898). His three-act operettas are: La timbale d'argent (1872); La petite reine (1873); Le roi d'Yvetot (1873); La famille Trouillat ou La rosière d'Honfleur (1874); La blanchisseuse de Berg-op-Zoom (1875 ); La cruche cassée (1875); La Sorrentine (1876); Le droit du seigneur (1878); Le billet de logement (1879); Le petit Parisien (1882); Le mariage au tambour (1886); Madame Cartouche (1886); Ninon de Lenclos (1887); Mam’zelle Crénom (1888); Le voyage de Suzette (1889); La famille Vénus (1891); Le pays de l'or (1892); and La souris blanche (1897). Other stage works, including ballet-pantomimes are: Les parisiennes (1874); Le prince soleil (1889); La prétentaine (1893); La brasserie (1886); and Le commandant Laripète (1892) Vasseur's church works include, L'Office divin (a collection of masses, offertories, antiphons, etc.); Hymne à Ste Cécile, for soprano, organ and orchestra; 2 masses; Magnificat.

There he met British Consul General Henry Salt, who hired his services to collect from the temple in Thebes the so-called 'Younger Memnon', one of two colossal granite heads depicting Ramesses II, and transport it to England. Thanks to Belzoni's hydraulics and his skill as an engineer (Napoleon's men had failed in the same endeavour a decade or so earlier), the 7-ton stone head arrived in London in 1818, where it was dubbed "The Younger Memnon" and, some years later, given pride of place in the British Museum. It was against the backdrop of intense excitement surrounding the statue's arrival, and having heard wondrous tales of other, less transportable treasures still in the desert, that the poet Percy Bysshe Shelley penned his sonnet "Ozymandias". In particular, one massive fallen statue at the Ramesseum is now inextricably linked with Shelley, because of the cartouche on its shoulder bearing Ramesses's throne name, User-maat-re Setep-en-re, the first part of which Diodorus transliterated into Greek as "Ozymandias".

Thomas Lainson designed the former children's hospital on Dyke Road. The Royal Alexandra Hospital for Sick Children, "an important part of Brighton life and a well known local landmark", was officially opened on 21 July 1881 and was used until 22 June 2007, when a new children's hospital opened on the Royal Sussex County Hospital campus elsewhere in the city. Designed by Thomas Lainson, it was a three-storey Queen Anne-style building of red brick with terracotta dressings and mouldings, enlivened by Dutch gables, cupolas and a moulded cartouche. Extensions included a colonnade of balconies (later enclosed) by the Clayton & Black firm in 1906 and a Vernacular-style recessed wing of two storeys in 1927–28, partly tile-hung and with timber decoration to the gables. The first mention of its potential closure came in 2001, when the Government allocated £28 million towards new facilities at the Royal Sussex County Hospital on Eastern Road in Kemptown. By 2004, it seemed likely that the building would be demolished and the site redeveloped with luxury flats.

The registered trademark of the University, designed in 1993, shows the arms on a cartouche circumscribed by a garter bearing the text UNIVERSITY OF OXFORD. Fox-Davies describes three possible texts: In p'ncipia erat verbu, et verbu erat apud deu, Dominus Illuminatio Mea, and Sapienta felicitas. In his Display of Heraldrie (1610), John Guillim interprets the arms as follows: > The Book itself some have thought to signifie that Book mentioned in the > Apocalyps, having seven Seals: but these here are taken rather to be the > seven Liberal Sciences, and the Crowns to be the reward and honour of > Learning and Wisdome; and the triplicity of the Crowns are taken to > represent the three Cardinal Professions or Faculties before specified > [Theology, Physick and Law]. The Inscription I find to vary according to > variety of times: some having Sapientia & Felicitate, Wisdome and Happiness; > others (and that very ancient) Deus illuminatio mea, The Lord is my light; > others this, Veritas liberat, bonitas regnabit, Truth frees us, Godliness > crowneth us; and others thus, In principio, &c.

However, in the text of the statue, he is not given a specific throne name or prenomen, the use of a cartouche by a royal prince is attested in other periods of Egyptian history such as that of Amenmes, son of Thutmose I, and the documents depicts Shoshenq C as a simple High Priest of Amun on the side of the legs of the Nile God, rather than a king. In addition, none of Shoshenq C's three wives used the title "King's Wife" in any of their artifacts. More significantly, none of his three children ever gave their father a royal title on their own funerary objects such as a Priest Osorkon, whose funerary papyri is now in the St Petersburg Museum, or the God's Wife Karomama Meritmut. Finally, as Helen Jacquet-Gordon perceptively notes in her Bi Or 32(1975) Book Review of Kenneth Kitchen's TIPE book, Shoshenq C's third child—the Priest (and future king) Harsiese A does not assign royal titles to his father on a Bes-statue in Durham Museum which he dedicated to his father's memory.

Dodson & Hilton, p.191 The throne was instead assumed by Ramesses X whose precise relationship to Ramesses IX is unclear. Ramesses X might have been Ramesses IX's son, but this assumption remains unproven. Tomb KV19, which was one of the most beautifully decorated tombs in the royal valley, had been abandoned by Sethirkhepsef B when the latter assumed the throne as king Ramesses VIII and one of prince Montuherkhopshef's depictions there "bears the prenomen cartouche to Ramesses IX on its belt" thereby establishing the identity of this prince's father.Dodson & Hilton, p.191 The tomb of Ramesses IX, KV6, has been open since antiquity, as is evidenced by the presence of Roman and Greek graffiti on the tomb walls. It is quite long in the tradition of the 'syringe' tunnels of the later 19th and 20th Dynasties and lies directly opposite the tomb of Ramesses II in the Valley of the Kings; this fact may have influenced Ramesses IX's choice of location for his final resting place due to its proximity to this great Pharaoh.Clayton, p.

Heqanakht was Viceroy of Kush during the reign of Ramesses II. His titles include: King's son of Kush, overseer of the Southern Lands, Fan-bearer on the Right Side of the King, Messenger to every land, Hereditary prince, royal sealbearer.Kitchen, K.A., Ramesside Inscriptions, Translated & Annotated, Translations, Volume III, Blackwell Publishers, 1996 Heqanakht is attested in several locations: # Graffiti in Aswan – Heqanakht is shown adoring a cartouche of Ramesses II # A squatting statue from Quban – The base is inscribed with hetep di nesu offerings from the King to Atum and Osiris. # A reused block from Quban is inscribed with Heqanakht's name # In the temple at Amada Heqanakht is shown praising Re-Harakhti # In a rock stela from Abu Simbel Heqanakht is shown adoring Queen Nefertari before offerings. The stela also depicts Ramesses II with the King's Daughter Meritamen # In Aksha the name of Heqanakht appears on a lintel from a building # In a stela from Serra Peniuy, chief of Tehkhet mentions a gift from Heqanakht # In Amarah Heqanakht is shown adoring Ramesses II # In Abri Heqanakht is shown giving praise to the Pharaoh on a lintel.

Running below this, and above the cove, is a continuous gold leaf cornice created in 1919 by Ferdinand Anthony Leonard Cerracchio (1888–1964), which displays a row of gilt figures, broken at the peak of each pointed arch by cherubs holding a cartouche, and behind all of which runs a painted grapevine with Tudor roses. On the floor, the opposing members' benches are spaced 3.96 m apart on either side of the room, a measurement said to be equivalent to two swords' length, harkening back to when English members of parliament carried swords into the chamber. Directly between, directly opposite the main door, on the chamber's axis, is the speaker's chair, made in 1921 by the English firm of Harry Hems as an exact replica of that in the British House of Commons. It is topped by a carved wood canopy bearing a rendition of the royal coat of arms of Canada sculpted in wood from the roof of the Westminster Hall, which was built in 1397; the whole was a gift from the British branch of what is today the Commonwealth Parliamentary Association.

Arsinoe I lived in exile for twenty years. During her exile, she lived in great splendour and enjoyed considerable privilege, since she was the former wife of a pharaoh. Her first son with Ptolemy II succeeded his father after his death. A surviving stele has been found at Coptos which refers to Arsinoe I. The Stele is of Senu-sher, a steward of Arsinoe I and the Stele is assigned to Arsinoe I's exile.Ptolemaic Genealogy: Arsinoe I, Footnote 8 The stele calls Arsinoe I the "king’s wife", but her name is not enclosed in the royal cartouche as was customary for an Egyptian queen. Another piece of surviving evidence connected to Arsinoe I is a Phoenician inscription found at Lapithos, Cyprus,, Footnote 9 which is dated in the 11th or 12th year in the reign of Ptolemy II. The inscription refers to a sacrifice instituted by Yatonba’al on behalf of "the legitimate scion and his wife", hence refers to Arsinoe I. As Arsinoe I was disgraced as a traitor, the fact the person who did the sacrifice on her behalf strongly suggests that the news of her disgrace had not yet reached him.

Prisoners were rarely kept there for a long time. As soon as judgement was given, they were taken briefly to the parvis in front of the Cathedral of Notre Dame to have their confession heard, then to their execution on the Place de Greve. Notable prisoners held at the Palace before their executions included Enguerrand de Marigny, the chancellor of Philip IV, who oversaw the construction of much of the Palace, accused of corruption by the king's successor, Louis X; Gabriel the Count of Montgomery, whose lance fatally wounded Henry II during a tournament, who was later accused of advocating religious reforms and disobedience to King Charles IX; François Ravaillac, the assassin of Henry IV; Marie-Madeleine d'Aubray, the marquise of Brinvilliers, a famous poisoner; the bandit Cartouche; and Robert François Damien, a Palace servant who tried to kill Louis XV. Jeanne de Valois, the Countess de la Motte, the central figure in the notorious Affair of the Diamond Necklace, who plotted to defraud Marie Antoinette, was held there, whipped, branded with a V for Voleur (thief), then transferred to the Saltpétriére Prison for a life sentence, but escaped a few months later.

This was evident in the imperial pharaonic titulatures; though early emperors had been given elaborate titulatures similar to those of the Ptolemies and native pharaohs before them, emperors from Commodus (reigned 180–192 AD) onwards were usually given just a nomen, though still written within a cartouche (as all pharaonic names were). Although there continued to be Roman emperors for centuries, until the Fall of Constantinople in 1453 AD, and Egypt continued to be a part of the empire until 641 AD, the last Roman emperor to be conferred the title of pharaoh was Maximinus Daia (reigned 311–313 AD). Despite actual dynastic relationships (there were at least four distinct dynasties of Roman emperors between Augustus and Maximinus Daia), the period of Roman rule over Egypt in its entirety is sometimes referred to as the Thirty-fourth Dynasty. Some nineteenth century Coptic scholars, such as Mikhail Sharubim and Rifa'a al- Tahtawi, split the Roman emperors into two dynasties, a Thirty-fourth Dynasty for pagan emperors and a Thirty-fifth Dynasty encompassing Christian emperors from Theodosius I to the Muslim conquest of Egypt in 641 AD, although no Christian Roman emperor was ever referred to as pharaoh by the population of ancient Egypt.

The cartridge is also known as the Cart 5,6mm 90 F (French: Cartouche pour Fusil / Italian: Cartuccia per Fucile) to the French- and Italian-speaking Swiss militiamen. The Swiss refer to the round as the 5.6 mm Gw Pat 90, although it is interchangeable with the 5.56×45mm NATO and .223 Remington round. The Gw Pat 90 round firing a 4.1 g (63 gr) FMJ bullet is optimized for use in 5.56 mm (.223 in) caliber barrels with a 254 mm (1:10 in) twist rate. The Gw Pat 90 was designed for the SIG SG 550 when it came into production in 1987, replacing the SIG SG 510. Previous experience of a change in standard rifle had proved that changing the distance of fire for the training ranges was more expensive than the design of a new ammunition; this prompted the design of a cartridge nominally capable at 300 meters. The cartridge was also designed to reduce pollution by controlling lead emissions. The bullet was originally clad with a nickel alloy jacket, however, this was found to cause excessive barrel wear, so in 1998 the nickel jackets were replaced with tombac jackets. In addition, in 1999 a copper plug was added to the base of the bullet to address environmental concerns.