Long festoons of inscribed and painted rags hung from one building to another, waving in the breeze.
|
|
Her husband (Jean-François Balmer) is a pompous professorial type who festoons his speech with nonsensical Latin flourishes.
|
|
He plays with lengthy fringe to expand attire to unconventional lengths and festoons helmets with impossibly dazzling materials, including glass beads, ceramic doll pieces and even plastic charms.
|
|
Black and white bunting festoons many buildings, and portraits of the widely beloved king still hang in the homes of many people who are loath to part with him.
|
|
Think of a bel paese trope, and it probably festoons this landmark local Italian food market: Various models of Vespas, mafia references, even recreations of street-side shrines to saints.
|
|
There is nothing cheap or snarky about the way the movie festoons its action sequences with "POW!" and "BLAMMO!" word bubbles, or shows us squiggly little lines whenever someone's Spidey sense tingles.
|
|
The fact that Trump himself is a lifelong New Yorker and that his name festoons a bunch of buildings in the city only makes his thoroughgoing rejection of New York values more striking.
|
|
There have been an equal number of callings to chapels, churches and special venues where young brides and grooms (some about to deploy) readied themselves for their vows, surrounded by the exquisite arrangements, candles and festoons we had ferried to the occasion.
|
|
There is no question that Ritter is speaking to us in our present moment—there are mentions of Google and lamentations that the "holy war today is anything but spiritual"—but he festoons his flights of fancy and mental peregrinations with a dizzying assortment of historical personalities, from Klaus Mann and Xavier de Maistre to Marga d'Andurain and Suleyman the Magnificent.
|
|
Perhaps a letter of the alphabet — the letter M, say — is special to this constructor, and he loves it so much he festoons not only his grid with it, but the clues as well (You did notice the clues, right?) I would further like to believe that the reason the letter M is so special to this constructor is because his name begins with it.
|
|
Finally, the corners of the room are decorated with pictures of festoons and fruits.
|
|
The pillars of the temple feature carvings of floral festoons, chain-and-bell and circular medals.
|
|
The adult rabbit tick is approximately 1 millimeter in length and contains festoons or wrinkles at the base of its body.
|
|
In addition to his legal publications, he wrote Festoons of Fancy in Essays, Humorous, Sentimental, and Political, in Prose and Verse.
|
|
The frieze exhibits fruit festoons suspended between bucrania. Above each festoon has a rosette over its center. The cornice does not have modillions.
|
|
On the shorter northeast and southwest faces are circular bronze shields with the coat of arms of Liverpool and festoons, and the dates of the two wars.
|
|
During the Middle Helladic II period, stamped concentric circles and "festoons" (or parallel semicircles) became a common characteristic of decoration especially on Black (or Argive) Minyan Ware.
|
|
Many of these decorations derive from Renaissance Revival architecture. The southwest corner of the building has an open belfry with a pyramidal roof and a concrete frieze embellished with festoons.
|
|
The oak-panelled hall features two friezes carved in chalk, with classical festoons. The dining room is panelled in walnut veneer. Ceilings have highly decorative plasterwork.Wilhide (2012), pp. 149–52.
|
|
Above all the arches are inset panels with festoons while the blank windows and niches have medallions. At the eastern end the pediment contains a carved Conygham (later Rossmore) coat of arms.
|
|
San Francisco: Harper Collins. . They are bearded smiling faces with leafy foliage hair and curling rams horns. Festoons of fruit are suspended from each horn.Robert Allerton Park Monticello, Illinois, Historic Building Assessment.
|
|
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.
|
|
There are amalaka-type segmented rings at the corners at one level, and the ornament with corbels, leaves and festoons on the lower cornices, below the gavakshas, suggest influence from Chinese Buddhist art.
|
|
The edifice has an L-shaped footprint boasting Art Nouveau style, registered on the Kuyavian-Pomeranian Voivodeship Heritage List. Architectural details flourished on both facades of the building: pilasters, motifs, ornaments, festoons are everywhere to be seen.
|
|
The new church was 61 feet long and 42 feet wide. It had a tower and spire rising from the north-west corner of the building, with a total height of about 150 feet. The south, east and west fronts each had three windows, with an elliptical pediment over the central one; the pediment on the south front, towards Cannon Street, was decorated with a carved wreath, flanked by festoons in high relief, while the heads of the flanking windows were decorated with festoons of drapery. This decoration was omitted on the other sides.
|
|
The ground floor room in the north-eastern corner of the house has 18th century moulded panelling, a moulded plaster ceiling, overdoors with segmental open pediments, a fireplace with eared architraves, and an overmantel carved with wooden festoons.
|
|
Festoons are located between the columns and the second- and third-floor windows. A projecting cornice runs below the roofline. The building is capped with a flat roof. The interior features a variety of materials and extensive decorative detail.
|
|
The Waupaca Republican newspaper stated that the building was brilliantly illuminated with electric lights and profusely decorated with festoons of evergreens, flowers, and flags. The newspaper also stated that all who attended enjoyed the exercise, the dance, the music, the social, and the supper.
|
|
They are marked by transverse brown lines, articulated and winding like light festoons. Between these lines appear white and violet spots. The interstices between the ribs are grayish. The longitudinal waved lines which are there seen, are strongly arched, and very contiguous to each other.
|
|
The conscutum of the male is dappled in various shades and colours. The female's scutum is dappled but the alloscutum is solid black. The male conscutum and female alloscutum are fringed with prominent festoons. The legs are swarthy or reddish, and paler at the joints.
|
|
The prothesis is ornated with typical Jankovits motifs. The gilded festoons, rose heads and acanthus leaves appear on the iconostasis and on other furniture too. The prothesis was over- painted with white oil paint during the Latinizing 1937 renovations. It was restored in 2005.
|
|
The stucco medallion on the facade The facade of Fiori is a three-axis and two-storey construction.Buchowiecki (1967), p. 705 The three axes are formed by giant order lesenes of a variant of the ionic order. Between the volutes of the capitals are festoons.
|
|
For ivory, he used delicately shaded cross-hatching overlapped with fine and smooth linear strokes to model his subject's faces. With gold, he used festoons, stippled patterns, and chased scallops. For George Washington, Ramage used a lock of Washington's hair with a meticulously cut "GW" cypher.
|
|
D. circumguttatus can reach a length of . Ornamentation of males consists of eight pale spots near the periphery of the scutum. Festoons and central areas are inornate. In the females, the colour pattern is limited to three patches, one posteriorly and one anterolaterally on each side.
|
|
The church was built mostly of stone, with some brick which was later stuccoed.Elmes, James. Topographical Dictionary of London, p.164 The east end of the church, in Lime Street, had a pediment and two pairs of coupled Ionic pilasters with a large window below carved festoons.
|
|
The wingspan is 34–40 mm. Upperside orange with brown basal suffusion and adorned with various marks of brown colour, submarginal round spots and lines forming festoons. The underside of the forewing is lighter and more coloured, that of the hindwing reddish and presenting silver spots.
|
|
It rises to a dome with curved triangular coffers separated by olive branch carvings and a stained glass window in the oculus depicting hollyhock festoons. Upstairs are the bedrooms. Generally more subdued, they are distinguished by their fireplaces. Each is in a different style, from Classical to Queen Anne.
|
|
The procession is led through a dusty landscape by robed, Orthodox priests holding icons, festoons and banners over their heads.Brinton, Christian. "Modern Artists", 2007. 146. Behind them follow a crowd mostly of peasants, but ranging from beggars and disabled people, police and military officers to figures from the provincial elite.
|
|
Machine-made festoons decorate the horizontal bandcourse which divides each major section between the second and third floors. Windows on the fourth floor are separated by brick pilasters with stone capitals, which continue into arches of radiating bricks with some trim. Much of the original stone ornamentation has gone missing.
|
|
E & S Livingstone 1962 Though they are not of commercial interest as fibre crops, suitably prepared vines from some Cassytha species are of value in rural communities as a casual source of cord. They may be used for binding bundles of materials such as thatch, or for stringing decorative festoons.
|
|
Urera trinervis (Hochst.) Friis & Immelman is a softly woody dioecious liane, sometimes epiphytic, climbing to 20 m, often to the canopy and hanging in festoons. It is one of some 44 species of Urera belonging to the nettle family Urticaceae. It is known in English as the tree climbing-nettle or climbing nettle.
|
|
The portal of the church, made of white Istrian stone, was designed by Giuliano da Maiano. The portal has garlanded frieze above and festoons of fruits along the side. Two columns protrude forward with lion bases and Corinthian capitals. The sculpted portal resembles that of the contemporary church of Sant'Agostino in town.
|
|
The fern is native to eastern Canada, the Midwestern and Eastern United States, and two disjunct populations in the Southwestern United States. It is found only on calcareous substrates such as limestone. It commonly festoons limestone cave openings. While most commonly found on vertical rock faces, it also grows in rocky scree.
|
|
Mandato 1960 – 1964. depicting in the apse events of the life of John the Baptist: a Baptism of Christ, Preaching , and his Decapitation. The choir ceiling has a depiction of a dove symbolizing the Holy Spirit in stucco, while the spandrels have cherubs holding festoons. The nave ceiling has The Redeemer image surrounded by the four evangelists.
|
|
The interiors have highly decorated walls and ceilings. The nave is flanked by pilasters with gilded corinthian capitals. The walls and pilasters are decorated with floral arabesque designs; and the friezes with festoons. The church contains the tombs of prominent ecclesiastics and aristocrats of the region, as well as members of the later- suppressed Confraternity of San Benvenuto.
|
|
The drawing rooms contain fine Rococo plasterwork on both ceilings, and on the walls and the chimneypiece of the front room. Hartwell et al. describe the plasterwork as being "quite sumptuous and exceptionally delicate". In the staircase hall is a panel between the windows containing a bust of Diana, with decorative plasterwork including festoons and hunting trophies.
|
|
The cornice has a large central convex surface on which is a simple, deeply carved curvilinear pattern. Surmounting the pedestal is the digger statue which is life-sized. The soldier stands on a square plinth decorated on all faces with relief carved wreaths and festoons. His head is bowed and hands are resting on his reversed rifle.
|
|
The other festoons contain a wheel, her intended instrument of martyrdom. The upper section consists of three bays flanked by a volute on each side. The middle bay is filled with a rose window inside a quadrilateral frame with roses on each corner. Above the rose window stands the escutcheon of the Cesi family between ornamental ribbons.
|
|
The former orangery has been converted into a café for visitors. A curiosity is the path known as the Festonallee or "festoon avenue", an avenue of linden trees which have been grown and pruned in order to assume the shape of intertwined festoons. The park has for a long time been used as a venue for open-air concerts.
|
|
The Exhibitors Building is an eight-story, trapezoid-shape, commercial building constructed of buff brick. The building measures 213 feet by 100 feet. It has terra cotta Italian Renaissance friezes and pilasters on the facades using beige, green, yellow, ochre, and red terra cotta tiles. Tilework images include griffins, fruit festoons, lion heads, and details symbolic of furniture-making.
|
|
The architect is unknown, butit may have been Lord Burlington. He designed and built the Assembly Rooms in 1730, and possibly the Mansion House between 1725 and 1730, both nearby. The house is an early example of the 18th-century classical style. Festoons of fruit emphasise the unusual stone door surround, which is framed by a Venetian style arch.
|
|
The nave has five bays. There are round-headed windows in the upper-tier and segmental headed windows in the lower tier. The south side has a central field with an oval panel, festoons and is surmounted by an urb. The back end of the main nave has porches with plain parapets and north and south doors.
|
|
The monument has a white marble surround with a broken segmental pediment with rolled terminals and with festoons or swags over, surmounted by a free-carved and painted shield and crest. The entablature projects over a pair of free Ionian columns, which rest below on a black marble corbel-table supported beneath by white grooved and rolled foliate consoles. Between the columns the inscription appears on a large black marble tablet framed by white marble moulding with an applied cherub's face with wings at the top, and a small heraldic shield indented at each corner. Beneath the corbel-table, between the consoles is inset a black marble stone inscribed "Memoria justi benedicta", and below this is inset a pair of fruit-cluster festoons suspended from hanging linen swags, carved in high relief.
|
|
The building is twelve stories tall, with five bays on each side, and with a limestone exterior. It has a rounded corner bay that faces north, topped with a domed cupola. The facade has paired windows and a three- story base with recessed windows and a molded crown. The arched entranceway has carved lions, festoons, a scrolled keystone, and other decorative elements.
|
|
The memorial is in the form of a mausoleum, long, wide and high. It is constructed of stone and plaster. Four corner columns support a stepped roof which is surmounted by a miniature mausoleum containing an urn with wreath and flame in the form of a lamp of remembrance. The corner finials are in the form of classical urns and festoons.
|
|
The center of the parish was then moved from Santa Maria Avvocata to the nearby Church of San Domenico Soriano. The nave is bright and full of decorations and festoons. Its plan is rectangular and the high altar is made of multicolored marble. The design of the interior is similar to that of the nearby Church of Sant'Antonio a Tarsia.
|
|
The tumors arise below the surface, are unencapsulated, and have an infiltrative pattern of growth, composed of many different patterns (glandular, trabecular, cords, festoons, single cells). The tumor shows duct-like structures with inner luminal, flattened cells and outer, basal, cuboidal cells. The cells may have an eccentrically placed nucleus. The nuclear chromatin distribution is "salt-and- pepper", giving a delicate, fine appearance.
|
|
The original shophouses were low with Doric columns. The early 1900s saw the first of the transitional style, these were taller in height and began using ornamentation. The late style (1900-1940), also known as the 'Singapore electric' was the most exotic with ornamentation and Chinese symbols mixed in with the traditional characteristics. They exhibited bright tiles, plaques and festoons.
|
|
Ed. Silex Ediciones (2002). . Some even call it First Renaissance in a refusal to consider it as a style in itself, but to distinguish it from non- Spanish Renaissance works. The style is characterized by ornate decorative facades covered with floral designs, chandeliers, festoons, fantastic creatures and all sorts of configurations. The spatial arrangement, however, is more clearly Gothic-inspired.
|
|
The dome was designed by Francesco Navole. They commissioned in 1746 the sculptor Giovan Battista de' Rossi (Il Rosso) to redecorate the church with angels holding garlands in stucco above the doors. Four windows were walled and replaced with four frescoes depicting scenes from the life of Saint Anne. Giovan Battista de' Rossi also made in stucco shells with festoons decorating the frescoes.
|
|
The first known erotic images on Attic vases are also found at this vase location. The painters frequently put annotations on Tyrrhenian amphora which identify the persons shown. The other two or three friezes were decorated with animals; sometimes one of them was replaced with a plant frieze. The neck is customarily painted with a lotus palmette cross or festoons.
|
|
"Remaking Dürer: Investigating the Master Engravings by Masterful Engraving," Art in Print Vol. 2 No. 4 (November–December 2012). Leonardo da Vinci took from Mantegna the use of decorations with festoons and fruit. Mantegna's main legacy in considered the introduction of spatial illusionism, both in frescoes and in sacra conversazione paintings: his tradition of ceiling decoration was followed for almost three centuries.
|
|
The piers divide the facades into three bays on Broadway and six on Chambers Street. There is a frieze running atop the piers, and the words inscribed on the Broadway size of the frieze. On the 3rd story, the bays are separated by rusticated granite piers topped by festoons, and there are two rectangular windows in each bay. A plain entablature runs above the 3rd floor.
|
|
Van der Nootska Palace Van der Nootska Palace () is a palace located at Sankt Paulsgatan 21 in Södermalm, Stockholm, Sweden. The house was built in 1671-1672 by architect Mathias Spieler for the Dutch-born Swedish military officer Thomas van der Noot. The facade has pilasters and festoons and the middle part is decorated with mermaids in the sandstone. Two wings frame a small garden.
|
|
Gay festoons of drapery hang from the clustered columns. Golden trophies glitter above in the sun, and incense rises from silver censors. The harbor is alive with numerous vessels - war galleys, and barks with silken sails. Before the doric temple on the left, the smoke of incense and of the altar rise, and a multitude of white-robed priests stand around on the marble steps.
|
|
The chapel is covered by brick vaulting in the center of which hangs a votive lamp from a plaster pendant. The entire wall of the chapel is covered by a Moorish tiled plinth of great artistic value. On the altar there is an lowered arch niche housing a crucifix on a red damask background. This niche is decorated with fine Moorish plasterwork that festoons the tile panels.
|
|
A pair of French doors, surmounted by a fanlight, open out on to this balcony. A round window decorated with festoons is directly below the balcony, followed by another small square window directly below this. A sign is located at the top of the facade, with the raised lettering "B.A.F.S Dispensary 1885-1915" The sign sits upon a short and simple entablature with prominent dentils.
|
|
Time-lapse sequence from the approach of Voyager 1 to Jupiter Early modern astronomers, using small telescopes, recorded the changing appearance of Jupiter's atmosphere. Their descriptive terms—belts and zones, brown spots and red spots, plumes, barges, festoons, and streamers—are still used.Ingersoll (2004), p. 2 Other terms such as vorticity, vertical motion, cloud heights have entered in use later, in the 20th century.
|
|
The Broadway was hung with flags, and the Tower connected to nearby houses with festoons. Over a thousand people assembled, and at noon the Earl of Stafford, Lord-Lieutenant of Middlesex, released a blue ribbon hanging from the belfry and the clock struck its first notes. The bronze sculpture of the head of Williams was created by Alfred Gilbert, who also designed Eros in Piccadilly Circus.
|
|
The present church was designed by Ennemond Alexandre Petitot, who replaced the prior facade, construction started in 1707 but was not completed till 1762. The façade is decorated with the papal symbols of the tiara, festoons, and keys, in a design by Petitot and modeled in stucco by Benigno Bossi. The nave ceiling and cupola are frescoed by Giovanni Antonio Vezzani.Turismo Parma, entry on church.
|
|
The church was destroyed in 1738 during a raid by the Marathas. During the Bandra Fair, the entire area is decorated with festoons and buntings. Many pitch up stalls to sell religious articles, roasted grams, snacks and sweets. Wax figures of the Virgin Mary along with an assortment of candles shaped like hands, feet and various other parts of the body are sold at kiosks.
|
|
Beyond this is a service wing "with no features of special interest". The stone wing is also in five bays and two storeys, and it rises to a greater height than the oak wing. It also stands on a plinth, and has canted ends. In the lower storey are 15-pane sash windows, and in the upper storey are nine-sash windows, with recessed panels containing festoons.
|
|
The monument consists of a bronze sculpture standing on a granite plinth and measures . Zoëga is depicted sitting on a chair and studying a diminutive version of a Greek statue of a woman which he holds in his left hand. He wear a cape, which, much like a Roman toga, is swept around his raised arm. The oval granite plinth is decorated with bronze festoons.
|
|
The play was preserved by Kartik Naach Prabandhan Samiti, but the Kartik Nach Preservation Committee (KNPC) has been preserving it since 2013. The play usually starts with dancers in colourful clothes portraying Hindu deities including Barahi, Ganesh, Shiva, and Krishna. The dancers also wear festoons around their necks. It is performed by Newar people and in 2015, there were "45 musicians and 10 helpers" performing.
|
|
They sit on a base with foliated designs at the centre and corner of each face. Above the first basin is a square pedestal with moulded festoons on each face. This is surmounted by an urn-like element with four small winged griffins and scrollwork at the top, which is the support for the second basin. This is also has scalloped edges and heads of gargoyles.
|
|
The church also possesses a chair made of lathed wooden elements, dating from the 13th century. There are also a number of medieval tombstones in the floor of the church. The baptismal font of the church, decorated with festoons, is made of sandstone and dates from the end of the 17th century. The pulpit is from 1718, and the pews are probably from the same period.
|
|
The ground color of the shell is whitish or violet, adorned with brown or reddish spots, forming regular festoons throughout its whole length. There are found also upon the surface of the shell two or three bands, sometimes replaced by large spots, which alike surround it. The middle band is always most apparent. The spire is short and is composed of six whorls slightly flattened above.
|
|
Within the gable of the tympanum is a frieze decorated with carved elements of cardinal symbols and festoons bearing a palm tree between two lions. The coat of arms and motto "SOLUS CUM SOLO DEO" can be traced back to the order of Saint Paul. Entrances and windows are framed by columns surmounted by arched triangular typani. The niches are surmounted by triangular arched pediments.
|
|
Due to Americanisation, decorations such as Santa Claus, Christmas trees, tinsel, faux evergreens, reindeer, and snow have become popular. Christmas lights are strung about in festoons, as the tail of the Star of Bethlehem in Belens, star shapes, Christmas trees, angels, and in a large variety of other ways, going as far as draping the whole outside of the house in lights. Despite these, the Philippines still retains its traditional decorations.
|
|
The same coat of arms has also been incorporated into the festoons."Monumentenregister", Rijksdienst voor het Cultureel Erfgoed (Dutch) Adjacent to the building is the Ropewalk of the Dutch East India Company, which also dates to 1660. The ropewalks behind the buildings no longer exist. It is now a residential area with street names that refer to the history of the location, such as Compagniestraat, Touwbaan and Admiraliteitstraat.
|
|
A variation on the Austrian is the waterfall curtain. Instead of horizontal festoons, the curtain has vertically running pleats like a traditional theater curtain, but it still gathers from the bottom in a number of swags. The waterfall has a pipe batten along the bottom edge to ensure the lines rise evenly. It is somewhat similar to a Roman shade, but with only one batten and vertical pleats.
|
|
Five-part Renaissance - early Baroque organ from the 17th century, decorated with golden eared ornaments, has winged heads and statues of angels on its wings. In its peak rests the statue of St. Giorgio. Baroque tracery of chorus from the second half of the 18th century contains a small organ decorated with acanthus ornamentation. On the windowsill there are reliefs of the apostles individually separated by pilasters with festoons and acanth.
|
|
The front faces bear sandstone plaques with the words The Great War and appropriate dates on the western side and The Boer War and appropriate dates on the eastern side. The lower sides of each plaque is embellished with relief carved festoons of tropical fruit. The inner pillars are the same standard design as the outer pillars, but at a larger scale. They are surmounted by large urns, draped with swags.
|
|
Seven square piers, with Doric capitals and gilt festoons, created a narrow colonnade along the north and south walls. A wainscot high, made of white Sylacauga marble with a verd antique baseboard, was placed on the walls and around all the piers. An acanthus crown molding topped the room, and gilt plaster moldings in the shape of finials surrounded each window and doorway. Turned wood spindles decorated the northern wall.
|
|
The central part of the building houses the dining room; to the left of this is an antechamber and to the right the so- called parade bedroom. The interior decoration is largely intact or, in a few cases, restored with 18th century furniture. The dining room is decorated in a strict form of classicism with pilasters and painted festoons, executed in grisaille technique. The furnishings are however simple.
|
|
On the first floor between the vestibule and the central stairway is a reception area topped with an arched, vaulted ceiling. The pilastered first floor hallway features a frieze incorporating a wavescroll. On the second floor, the hall has beamed ceilings and pilasters capped with flattened Corinthian capitals. This floor has the most elaborate frieze composed of plaster festoons with a ribbon-wrapped design of leaves and flowers.
|
|
13, . For a discussion and comparison with the Attic and Vitruvian bases for the Ionic order, see Howard Burns, '"Ornamenti" and ornamentation in Palladio's architectural theory and practice', Pegasus: Berliner Beiträge zum Nachleben der Antike, 11 (2009), pp. 49–50, . The idea of an ornate frieze above the columns with festoons alternating with window openings had already been used by Sansovino for the courtyard of Palazzo Gaddi in Rome (1519–1527).
|
|
At the beginning of the classical change period, 1803, the Garden Room extended along the north side in front of the Haydnsaal. The windows previously installed there were bricked up. Friedrich Rhode, the court painter, decorated the remaining recesses with Biedermeier-style festoons. Masonry wall openings were provided at both the east and west ends, sealed off by two large alcoves, and served as access ways to the planned opera/theatre wing and gallery section.
|
|
Sir William Bruce (c. 1630–1710), the leading Scottish architect of the seventeenth century, favoured Dutch carvers for his realisation of Kinross House in Fife, where there are festoons, trophies and cornucopia around the doorways and gates. This may have included Jan van Sant Voort, a Dutch carver known to have been living in Leith, who supplied Bruce with a carved heraldic overdoor in 1679 and who worked on Bruce's rebuilding of Holyrood Palace.
|
|
The colored terracotta panels served to highlight the steel superstructure. Communications between Gilbert and Andrews show that Gilbert had initially preferred a single-color scheme for the facade. However, Andrews had convinced Gilbert to add color after they traveled to see the buildings on the Columbia University campus. Detail of the base The lowest two stories of the base are rusticated granite piers topped by Tuscan-style capitals with cartouches, festoons, and plaques.
|
|
Panels between the pilaster capitals are decorated with festoons. The frieze features paired rosettes at each end framing the name "REGENT BVILDING" lettered across its centre. An exaggerated cornice supported on closely spaced brackets projects over the frieze and is roofed with terracotta-style tiles presenting small, semi-circular profiles to the street. Topping the building is a parapet, which combines solid sections corresponding to the pilasters below and intervening open sections of Italianate balusters.
|
|
The dominant feature of the entrance hall is its high barrel-vaulted ceiling decorated with Neo-classical Empire-style plasterwork and murals. The decorative pattern consists of raised, geometric shapes and festoons painted bronze, set on a pale background and divided by strips of fretwork. The end vaults are painted with colourful medieval scenes. Two elaborate original chandeliers, with red glass panels and faux candle lights are suspended from the centre of two ceiling medallions.
|
|
Hyalomma are larger in size and do not have protective shields (indistinct festoons), but have eyes and banded legs. Hyalomma species are difficult to identify due to their hybridization and genetic and morphological variations, caused by harsh environmental conditions and lack of food sources. Hyalomma species are the only ticks to live in such harsh desert conditions. With few hosts available, they are required to be active as soon as a potential host is sensed.
|
|
After successful mating, female will retreat to her den and cover the entrance with rubble. She remains in her den for several days, spawning multiple festoons equating to thousands of eggs. After spawning, she will remain with her eggs until they hatch, cleaning and caring for them. The hatchlings are planktonic (≈2mm in size) and will not have parental protection after hatching, as algae octopuses are semelparous, dying shortly after their young are hatched.
|
|
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.
|
|
As the winch turns, the curtain rises and is collected in a series of swags, which are accentuated by horizontal pleats (called festoons) sewn into the curtain from top to bottom, thereby giving it both vertical and horizontal fullness. Austrian curtains reached their height of popularity in the mid twentieth century. They are considered visually attractive and simple to operate and require little fly space, but have complicated rigging and are relatively expensive.
|
|
On the south wall of the great hall toward the vestibule is a false broken pediment that appears above a real entrance arch. A fresco of two female figures, Prudence with the Mirror and Peace with an Olive Branch, can be seen. The North wall at the center of the upper part of the building contains the crest of the Emo Family. It is carved and gilt wood, surrounded by trompe-l'œil cornices and festoons.
|
|
From 11 June onwards, the protests spread to other parts of the country as students of Jahangirnagar University, Shahjalal University of Science & Technology at Sylhet, Bangladesh Agricultural University (BAU) (Mymensingh), Rajshahi University and Chittagong University decided to express solidarity with Dhaka-based protesters. Students of public universities outside Dhaka took to the streets and formed human chains. They also chanted slogans, blocked highways and held placards and festoons to press home their demands.
|
|
The whorls become broader as they approach the lip. They are ornamented with transverse black lines, dividing them into unequal spaces, the coloring of which is less deep than that of the interstices of the ribs. The ribs are of a grayish or brown tint, of little variety, with wide spots, which sometimes form bands of a bloody purple. There are undulating lines in zigzags or white festoons, and brown meanderings between them.
|
|
By the 80s, she started to paint Bengali folk paintings with women as the focus. She would use vibrant colors in a rather restrained way and her palette is usually dominated by pinks and blues. Her paintings would show women doing daily work and following simple routines in their lives. Arpita would draw daily use objects like trees, flowers, flower vases, animals, teapots, pillows, festoons and flags, and show women surrounded by them.
|
|
The austere dark colour of the bronze is further enhanced by the contrasting white marble support. This bier is decorated with gilded reliefs of festoons, winged angels and trophies and it is covered by a folded drapery. The head rests on an embroidered cushion sculpted of glossy white marble.Antonio Foscari: Il cardinale veneziano Pietro Foscari e lo scultore senese Giovanni di Stefano in Santa Maria del Popolo a Roma, in: "Arte Documento", n.
|
|
22 Above the lower cornice, the entablature consists of small figures, now numbering only three (must have been eleven originally) standing under cusped arches. Above these figures is a valance of beads hanging in festoons. According to art historian Cousens, the decoration on the eastern doorway, though not a fine as on the southern doorway, is worthy of praise for its filigree work. The doorway to the shrine (sanctum) rivals the exterior ones in finish.
|
|
An exceptionally elaborate unguentarium was found in a cremation burial at Stobi in North Macedonia. Made of milky glass, the vessel has a globular body decorated with an egg-and-dart motif around the top and festoons and vine clusters around the bottom. The middle had six panels illustrating various vessels, with two examples each of the hydria, oenochoe and crater.James Wiseman and Djordje Mano-Zissi, "Excavations at Stobi, 1970," American Journal of Archaeology 75 (1971), p. 405.
|
|
The church's bell tower, which is still intact The church had a neoclassical façade with four fluted Ionic columns of a giant order which supported a triangular tympanum. The main doorway was located in the centre, and there were two smaller portals which surmounted by pediments. Above them there were niches and decorations of festoons. The church's bell tower, which is built in the Baroque style, is the only part of the building which still exists in situ.
|
|
The almost bare stone facade is unusual for it portal with caryatid pilasters. The marble architrave is decorated with angels and festoons of fruit. The portal once had three 15th-century marble statues of Saints Peter, Paul, and Andrew, now moved inside of the church. The facade also has a seal of the town, carved in stone, consisting of a shield and eight pointed stars, in reference to the Statutes of the Comune of Sarzana in 1330.
|
|
In Lakonia the deep bowl was usually put on a high foot; cups on low feet are rare. The exterior is typically decorated with ornaments, usually festoons of pomegranates, and the interior scene is quite large and contains figures. In Laconia earlier than in the rest of Greece the tondo became the main framework for cup scenes. The main image was likewise divided into two segments at an early date, a main scene and a smaller, lower one.
|
|
The inscription on the side of the sarcophagus is written on a tabula ansata. The coffin is decorated with festoons of fruit and corn, ribbons, antique medallions and peltae, it rests on lion paws and the corners are decorated with oak leaves and acorns. The gisant is clad in ecclesiastical robes with a mitre on his head. The pilaster panels are covered with an elaborate ornamental decoration starting with tripods and terminating in crosses; the Corinthian capitals feature dolphins.
|
|
The walls of the conference hall having cornices and dentils bordering the four sides with embossed designs of festoons, urns, and floral forms. A motif of a large arch with an ornamental keystone, resting on pillars is embossed over the main doorway. The Edward Rose garden is another main attraction of the mansion.Flower show does ‘well’ Antique prints in polished wooden frames adorn the walls including one that depicts the battle of Seringapatnam, dating from 1802. Prof.
|
|
But the insertion of windows into a frieze had been pioneered even earlier by Bramante at Palazzo Caprini in Rome (1501–1510, demolished 1938) and employed in Peruzzi's early sixteenth-century Villa Farnesina.Lotz, 'The Roman Legacy in Sansovino's Venetian Buildings', pp. 11–12 In the library, the specific pattern of the festoons with putti appears to be based on an early second-century sarcophagus fragment belonging to Cardinal Domenico Grimani's collection of antiquities.Morresi, Jacopo Sansovino, p.
|
|
Peter van Dievoet is also the author of finely chiseled woodcarvings, as shown, for example, by the extremely elaborate lime-wood ornamentation of festoons and fruits, which is preserved at the Royal Museums of Art and History of Brussels.Musées royaux d’Art et d’Histoire de Bruxelles, Inventory 614, "encadrement ornemental attribué à Peter van Dievoet" (Brussels, 1661-1729). He also carved out of wood, « keerses » which are richly decorated emblems, used for celebrations, for the tailors' guild.
|
|
The buildings, between naturalism, classicism, Egyptian and floral, present striking decorations: masks, grotesques, medallions, fringes and drops, shells, giant pilasters and large festoons of hops. This establishment, originally, exploited the aforementioned Fontana degli Ammalati, or a resurgence whose water was used for centuries for its healing qualities. The Carlo Cattaneo University of Castellanza Further down the valley there is the former Cotonificio Milani of Castiglione Olona. In addition to production facilities, this industrial complex includes a manor house and some workers' houses.
|
|
Part of the boudoir The Porcelain boudoir of Maria Amalia of Saxony is a rococo interior now located in the Palace of Capodimonte in Naples. It was originally made for the Palace of Portici in 1757–59, but has now been moved to the Capodimonte Palace.Le Corbellier, 21It is named after Maria Amalia of Saxony, queen of Naples. It consists of white porcelain panels decorated in high relief with festoons and genre scenes, drawing on the Chinoiserie popular at the time.
|
|
John Rupert Martin, "A Portrait of Rubens by Daniel Seghers," Record of the Art Museum, Princeton University, vol. 17 (1958), pp. 2-20. Garland paintings are typically a collaboration between a figure painter and a flower painter. Galle is known to have collaborated with Cornelis Schut on a garland painting referred to as A trompe l'oeil relief of the Pietà in a stone carved tondo, surrounded by festoons of flowers and thistles (Sold at Christie's on 11 May 2005 in Amsterdam lot 29).
|
|
The carved reredos, placed within a shallow rounded apse, shares an unusual decorative feature with the reredos of the former St. Mary's in Dublin: Corinthian pilaster capitals with twin acanthus scrolls. The acanthus frieze is carved with winged angels and bishop's mitre; the segmental pediment, with festoons of flowers. The craftsman's name is unrecorded.The Knight of Glin and James Peill, Irish Furniture: Woodwork and Carving in Ireland from the Earliest Times to the Act of Union (Yale University Press, 2007), pp.
|
|
An addition for the fire department was completed in 1979. While the asymmetrical facade and the recessed limestone surround of the main entrance reflects the Art Deco style that was popular at the time, the building's styling reflects the Neoclassical style. It is primarily found in the pilasters that flank the entrance, and the low relief emblems and festoons on the stone panels. The city hall\fire station was individually listed on the National Register of Historic Places in 2006.
|
|
The cross-ribbed vault in the presbytery is richly ornamented with mosaic festoons of leaves, fruit and flowers, converging on a crown encircling the Lamb of God. The crown is supported by four angels, and every surface is covered with a profusion of flowers, stars, birds and animals, including many peacocks. Above the arch, on both sides, two angels hold a disc and beside them a representation of the cities of Jerusalem and Bethlehem. They symbolize the human race (Jerusalem representing the Jews, and Bethlehem the Gentiles).
|
|
Entrance detail The ceiling decoration of the main banking room was designed by Chicago artist Alexander Rinoskopf and was executed by the Davenport decorating firm of Hartman and Sedding. Ten men created the stencils on of paper and two artists rendered the work in oils. The Italian Renaissance style of work features spirals, rosettes, festoons, griffins, swans and masks. In addition, there are also ten murals that are high, which provide a chronological history of Davenport from its earliest times to the American Civil War.
|
|
The ground-floor shop windows are all flanked by pilasters and topped with moulding detail including a keystone-like feature that reaches the string course. The mullioned and transomed first-floor windows have horizontal heads with brick keystone detailing. The two attic storeys each have a row of circular dormer windows in the steep roof, the lower set being decorated below with festoons of fruit and flowers, which differ in detail from window to window. The drainpipe heads are all inscribed with 1911 in a lozenge pattern.
|
|
The eaves of the main block stand out prominently and borrow from Alpine architecture. The facade of the upper floors is richly decorated with stucco and bas-reliefs, which were designed by Julius Seidler and Philipp Widmer. These depict allegories of virtues and occupations, as well as symbols for professions and ranks surrounded by cartouches and connected by festoons. The style of the motifs draws on rural construction forms from the foothills of the Alps and mixes them with aspects of old Munich town houses.
|
|
Most of them still shape the specific architecture of the city centre. Ten exquisite buildings can be seen along the Main Street alone, beginning with the powerful impact of the Bulgarian Bank (1898), and followed by smaller elegant buildings very much influenced by the Vienna Secession architects. Their façades are lavishly decorated with fluted pilasters crowned with composite capitals; arched windows articulated by decorative columns, curvilinear ornaments and many other elegant details. Plant-inspired motifs such as blossoming small trees, ornamental garlands, festoons of flowers, etc.
|
|
The interior has a solemn Renaissance atmosphere, with the four arms starting from the cubical central hall, surmounted by the semi-spherical dome. All corners are marked by fake columns with precious capitals whose entablatures underline the vault. The arms are decorated by four stained-glass windows designed by Domenico Ghirlandaio (1491). The entablature has a frieze with festoons and coats of arms in majolica from Andrea della Robbia's workshop; Della Robbia was also author of the tondos with Evangelists (1491), in the pendentives of the dome.
|
|
D. andersoni hard ticks are generally brown or reddish brown in color. Females have a distinct dorsal silver-gray ornamentation that turns more gray when the tick feeds, while males are spotted gray and white with no distinctive shield marking. Their bodies are flat and pear-shaped, ranging from 2.0 to 5.3 mm in length, and have 11 festoons on their lower dorsal portion. This species is sexually dimorphic; females are generally larger and can increase their size by nearly three times when fully engorged.
|
|
The vault is an example of illusionistic painting, mimicking a pergola opening to the sky. The ribs of the vault are in turn painted to resemble bamboo, and divide each vault segment in four zones, each corresponding to a wall. At the centre of the vault is the coat of arms of abbess Giovanni, formed by three crescent moons in gilded stucco, around which is a series of knotted pink belts. Festoons of vegetables are connected to the latter, one for each vault sector.
|
|
The outside of the mansion features a massive portico, balustrades, pilasters, and floral festoons. The central part of the mansion is layered into a basement, three floors, and an attic. In the north and south wings, there is a subbasement, a basement, and two floors. Ceilings in the older part of the building dating prior to the enlargement (the first floor of the central part) are about high, whereas the ceilings of the later construction (first floor of the north and south wings) can be about high.
|
|
In this street is a large triumphal > arch, with columns of the Doric order, adorned with the statues of Fame and > Honour, &c.; beautified with festoons of flowers; all the enrichments of > gold. Through this arch, at a vast distance, in the middle of a piazza, is > seen a stately obelisk.Psyche, Stage direction, Act 3. The numbers of performers used, mainly dancers, is clearly staggering compared to the regular comedy or serious play, where the norm was something like 10–15 actors plus a few extras.
|
|
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.
|
|
In one incident, the group's P-51 Mustangs failed to down a single telephone line on wooden poles using bombs, the P-51's used a daring tactic: "The lead plane swooped and banked...his lower wing tip ripped momentarily across an open space in the jungle, perhaps three feet above the ground...the second plane swerved...straight at us out of the land in a tight turn, wing tip brushing the ground...[We saw] telephone wire hanging around in festoons at the edge of the jungle."Masters, 1979, p. 198-199.
|
|
The gown and the coat are laid freely, as a result the figure is largely plasticized by means of generous draperies of robes. On the right side, the robes are characterized by quite strong parallel, curved bends, while on the left side, as in the veil, they take the form of decorative festoons with cascading folds. The child is naked and sits on the mother's right arm, its eyes are directed towards the apple, which it touches with its left hand. The artist shaped the body realistically according to the child's age.
|
|
Curiously enough it commanded only one-tenth of that price at the Fournier sale in 1831; but in 1865, when the marquis of Hertford bought it at the prince de Beauvais's sale, it fetched 31,900 francs. It is now in the Wallace Collection, which contains the finest and most representative gathering of Gouthière's undoubted work. The mounts of gilt bronze, cast and elaborately chased, show satyr's heads, from which hang festoons of vine leaves, while within the feet a serpent is coiled to spring. A smaller cup is one of the treasures of the Louvre.
|
|
On the longer sides are panels containing the names of those who fell in the First World War, and on the shorter sides, in smaller panels, are those who died in the Second World War. On the shorter sides, above the panels, are carvings of female figures, one holding a wreath, the other a medallion. Above the figures and panels on all sides is a frieze of festoons of laurel. Below the panels on the long sides are circular plaques carved with crests of the forces involved in the wars.
|
|
As a curiosity, the four volutes, two for each capital, were carved reversed. In the central panel, the round case of the clock itself rested upon an estipite adorned with laurel festoons, this was flanked by two winged female figures in mid-relief dressed with a chiton. From the onlooker's point of view, the figure at left represented Honour whereas the one at right depicted Glory. As accompanying attributes, Honour held a tablet in her left hand while the other was writing using a stylus, her left foot rested on top of a terrestrial globe.
|
|
The line of succession for Chastleton ran from Walter to his eldest son Henry (died 1656), his son Arthur (died 1687), his son Henry (died 1688), his son Walter (died 1704), his wife Anne (died 1739), their son Henry (died 1761), his son John (died 1813), his brother Arthur (died 1828) and his cousin John Henry Whitmore. In the church are wall-mounted monuments to members of the Jones family. Most notable are those to Sarah Jones (died 1687), with festoons and weeping putti and to Anne Jones, who died in 1708.
|
|
The feast attracts people from all faiths who pray to Jesus for thanksgiving or requesting of favors. The church feast is annually celebrated on 15 May with Flag Hoisting and there is a Car- Procession on the 9th Day of the celebration. On the 11th day there is a Common Meal served at the church with the congregation of all the people and to bid their final prayers. During the Fair, the entire area is decorated with festoons and buntings, the church is decorated with electric lights, portraying the majestic view of the grand church.
|
|
The son of a wealthy householder at Hamsavati, Kaundinya saw the monk who was the first disciple of Padmuttara Buddha. Kaundinya's previous rebirth bestowed on the Buddha and the sangha and wished that he was to be the first disciple of a future Buddha. Padumuttara is said to have prophesied the fulfilment of this in the era of Gautama Buddha, 1000 aeons into the future. After the passing of Padmuttara Buddha, Kaundinya constructed a jewelled chamber inside the cetiya in which the relics were stored and also made an offering of jewel festoons.
|
|
Projecting beyond the main walls are three bays, clustered around the western end of the Chapel. These bays consist of a single storey rectilinear bay on each side of the Chapel and a taller semicircular apse on the Sandgate Road or western end. The domed apse, the main decorative feature of the Sandgate Road facade, has a zinc roof incorporating ornamental vents and rendered and banded walls decorated with festoons. Although the Chapel consists principally of a single large double-height space, the facades are divided by the use of classical motifs into two levels.
|
|
These changes had the dual effect of unifying the room and giving the vaulted ceiling more presence. Parish had the walls painted a soft yellow, and yellow silk curtains, tied back twice with ornamental cords and tassels, installed within the frame of the windows. French interior designer Stéphane Boudin had recommended a similar treatment by her in the Yellow Oval Room. A series of mantels and chandeliers were tried, finally resulting in permanent installation of a late Louis XVI green marble mantelpiece with a carved eagle and festoons in white marble.
|
|
A satiric ditty from the occasion claimed: > Sir Giovanni delle Bande Nere (Messer Giovanni delle Bande Nere) from a long > ride weary and tired (dal lungo cavalcar noiato e stanco) dismounts from > saddle, and settles on seat. (scese di sella e si pose a sedere) Bas relief of Base of San Lorenzo The imposing Giovanni sits, somewhat uncomfortably, wearing a metallic cuirass on his torso. Without a helmet or army boots, he holds a baton of command on his knee. The plinth is almost more decorative with festoons and Bucranium, and corner doric columns.
|
|
Eastern Province Herald, April 29, 1959 A small party of workmen fitted the luxury liner out as a floating prisoner of war camp, "with festoons of barbed wire sprouting from her decks and disfiguring her graceful lines" as the ship was prepared for the task of bringing POWs back from north Africa. In October, 1942, the Île de France was spotted off Port Elizabeth, by aircraft of the South African Air Force.Secret War Diary. 42 Air School, South African Air Force While in the city she was converted into a troopship.
|
|
The Illuminations were first shown in 1879 when they were described as 'Artificial sunshine', and consisted of just eight carbon arc lamps which bathed the Promenade. The original event preceded Thomas Edison's patent of the electric light bulb by twelve months. The first display similar to the modern-day displays was held in May 1912 to mark the first British Royal family visit to Blackpool when Princess Louise opened a new section of the Promenade, Princess Parade. The Promenade was decorated with what was described as "festoons of garland lamps" using about 10,000 light bulbs.
|
|
The 36 columns represent the states of the Union at the time of Lincoln's death; the 48 stone festoons above the columns represent the 48 states in 1922. Inside, each inscription is surmounted by a mural by Jules Guerin portraying principles seen as evident in Lincoln's life: Freedom, Liberty, Mortality, Justice, and the Law on the south wall; Unity, Fraternity, and Charity on the north. Cypress trees, representing Eternity, are in the murals' backgrounds. The murals' paint incorporated kerosene and wax to protect the exposed artwork from fluctuations in temperature and moisture.
|
|
In each wing the first two storeys have three-bay openings, wide between narrow, flanked by wide piers. In the ground storey these piers are plain, but those above are dressed with segmental-pedimented niches containing statues. A pedestal, with enriched panels in its die, underlines the lofty third storey where the central face has a group of three round-arched windows, their moulded archivolts rising from entablatures above plain piers flanked by Ionic half-columns. Carved in the spandrels are draped female figures, holding festoons looped below oblong tablets.
|
|
The high altar is usually the pièce de resistance: in many instances a single block of coloured marble, decorated with gilt scrolls and festoons, and frequently inset with other stones such as lapis lazuli and agate. Steps leading to the altar dais are characteristically curving between concave and convex and in many cases decorated with inlaid coloured marbles. An example of this is in the church of St Zita in Palermo. The building of Sicily's churches would typically be funded not just by individual religious orders but also by an aristocratic family.
|
|
Lord Dacre died at Chelsea on 25 September 1594. She survived him by only a few months, dying in the same house on 14 May 1595. Only a few weeks before her death she defended herself from the charge of wishing to appropriate her husband's estate to herself.ib. 9 April 1592, No. 120 She and her husband were buried in the More Chapel in Chelsea Old Church, where, by her desire, a magnificent marble monument was erected, exhibiting their effigies of full size under a Corinthian canopy, richly adorned with festoons of flowers.
|
|
The south front, the main facade of the house, is surmounted by a raised stone parapet of three panels containing carved festoons and crowned by another stone eagle. It is more impressive than the north front because of the flanking wings added in the mid 18th century by Francis Barlow. The bays of these single storey additions are divided by pilasters with well carved composite capitals and are surmounted by a balustraded parapet. The front door leads straight into the stone-flagged entrance hall, as in a medieval house.
|
|
1950 (Dutch) The Admiraliteitslijnbaan originally served as the front building of the ropewalk of the Admiralty of Amsterdam. The covered ropewalk behind the building stretched some 500 meters to the IJ bay, between the Oostenburgervaart canal and Conradstraat. The trapezoid-shaped facade dates to 1660 and is richly decorated with festoons, two oeil-de-boeuf-windows and niches with arched tops, some stretching vertically over both floors. The top of the facade is decorated with a sculpture of two lions with bronze swords resting against a coat of arms showing two crossed blue anchors, the symbol of the Admiralty of Amsterdam.
|
|
In its current configuration, the Delaware Trust Building is a 13-story, U-shaped building with the three sides of the U extending along Market, 9th, and King Streets. The building's two-story base is clad in limestone, with a granite water table, and the upper floors are faced with buff-colored brick and limestone trim. The Market Street elevation has three large arched entrances and is ornamented with Classical Revival elements including pilasters, rusticated stonework, festoons, and other carved details. A dentiled cornice extends around the building above the second floor and there are string courses above the third and eleventh floors.
|
|
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.
|
|
Vítor Serrão, História de Arte em Portugal. O Barroco (Lisbon, 2003), pp. 207-208. The decorative elements of rocaille inspiration — festoons, garlands, angels — combined with the classical austerity of the structural composition formed the basis of an evolving taste that would decide the future trends of Portuguese gilt woodwork. The use of columns with straight channelled shafts with gilt fillets on a lapis lazuli background, the austerity of geometric lines reinforced by the use of precious marbles and mosaics, and the rocaille decoration illustrate the combination of innovations introduced by this chapel into the Portuguese decorative tradition.
|
|
In 1449 there were the first personal problems between Mantegna and Pizzolo, the latter accusing the former of continuous interferences in the execution of the chapel's altarpiece. This led to a redistribution of the works among the artists; perhaps due to this Mantegna halted his work and visited Ferrara. In 1450 Giovanni, who had executed only the decorative festoons of the vault, died; the following year Vivarini also left the work, after he had completed four Evangelists in the vault. They were replaced by Bono da Ferrara and Ansuino da Forlì, whose style was influenced by that of Piero della Francesca.
|
|
The temple is situated on the Baba Kharak Singh Road (old Irwin Road) about southwest of Connaught place in Central Delhi, which is the commercial hub of Delhi. Tuesday and Saturday are special days of worship when devotees congregate at the temple in large numbers. Hanuman Jayanti (birthday celebrations of lord Hanuman) is held every year with great fanfare on the full moon (Purnima) day in the month of Chaitra (March - April) as per established lunar Hindu Panchangam or Hindu calendar. Colourful processions with festoons and with devotees wearing Hanuman masks and tails and carrying large idols of Hanuman fill the streets.
|
|
Branch Another name for the light-bearing part of a chandelier, also known as an arm. Candelabrum Not to be confused with chandeliers, candelabra are candlesticks, usually branched, designed to stand on tables, or if large, the floor. Candlebeam A cross made from two wooden beams with one or more cups and prickets at each end for securing candles. Candle nozzle The small cup into which the end of the candle is slotted Canopy An inverted shallow dish at the top of a chandelier from which festoons of beads are often suspended, lending a flourish to the top of the fitting.
|
|
T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), , p. 68. William Bruce favoured Dutch carvers for his realisation of Kinross House, where there are festoons, trophies and cornucopia around the doorways and gates. This may have included the work of Jan van Sant Voort, a Dutch carver known to have been living in Leith, who supplied Bruce with a carved heraldic overdoor in 1679 and who worked on Bruce's rebuilding of Holyrood Palace. From 1674 the London plasterers George Dunsterfield (fl. 1660–76) and John Houlbert (fl. 1674–79) worked for Bruce at Thirlestane, Berwickshire and at Holyroodhouse.
|
|
Lagynos decorated with musical instruments, 150‑100 BC, Louvre. The Hellenistic Age comes immediately after the great age of painted Ancient Greek pottery, perhaps because increased prosperity led to more use of fine metalware (very little now surviving) and the decline of the fine painted "vase" (the term used for all vessel shapes in pottery). Most vases of the period are black and uniform, with a shiny appearance approaching that of varnish, decorated with simple motifs of flowers or festoons. The shapes of the vessels are often based on metalwork shapes: thus with the lagynos, a wine jar typical of the period.
|
|
Below the painting in the background, you can recognize the Portiuncula, the small church of Saint Mary of the Angels, located on the outskirts of Assisi. The Porziuncola is linked to the life of Saint Francis and Saint Clare and, due to this fact, it so dear to the Franciscan tradition. The painting, which dates back to the period when the church was dedicated to Saint Mary of the Angels, is framed by a white stucco decoration. On either side depicts two candlesticks, decorated with festoons, bearing the monogram of the Virgin Mary; these decorations are inserted into two painted pilasters.
|
|
On the lintel, above the painting, there are two angels holding a medallion depicting the monogram of Christ "JHS", that stands for Jesus Hominum Salvator. The ceiling of the church is completely frescoed: on the small nave shows a clear sky, in the presbytery it appears several times the monogram of the Virgin Mary, alternating with festoons and floral decorations, led by two angels in glory. The left aisle leads to a small room where it is possible to attend the Mass. In this room there are fragments of frescoes which appear fake architecture and, on the right, a small closet.
|
|
Saint Francis with the Blood of Christ, 1480–1486 Unlike the naturalistic trends arising in Florence during his lifetime, Crivelli's style continues to represent the courtly International Gothic sensibility. His urban settings are jewel-like and full of elaborate allegorical detail. He favored verdant landscape backgrounds, and his works can be identified by his characteristic use of fruits and flowers as decorative motifs, often depicted in pendant festoons,Encyclopædia Britannica, 1911 which are also a hallmark of the Paduan studio of Francesco Squarcione, where Crivelli may have worked. His paintings have a linear quality identified with his Umbrian contemporaries.
|
|
She became one of his first Newport clients for her home there, Land's End. In her autobiography, A Backward Glance, Wharton wrote: > We asked him to alter and decorate the house—a somewhat new departure, since > the architects of that day looked down on house-decoration as a branch of > dress-making, and left the field up to the upholsterers, who crammed every > room with curtains, lambrequins, jardinières of artificial plants, wobbly > velvet-covered tables littered with silver gew-gaws, and festoons of lace on > mantelpieces and dressing tables. Codman viewed interior design as "a branch of architecture".
|
|
The Poręba Palace was devoted mainly to entertainment. In contrast to the dignified and formal interiors of Pszczyna Castle, the Pheasantry was a "true temple of fun and joy". The ballroom of the Pheasantry was decorated with festoons of fruit and numerous bouquets of flowers. Guests from the town and its environs were invited to balls organized to celebrate princely birthdays. A particularly ceremonious birthday party was organized for Princess Augustina Esperanza Fredericka von Reuss - Henry Anhalt’s wife (Henry Anhalt ruled the duchy in the years: 1818-1830 and 1841-1846) whose birthday coincided with that of King Frederick William III of Prussia.
|
|
Psyche had not one, but two, extremely elaborate sets for each of five acts. This is the setting for the beginning of Act 3: > The Scene is the Palace of Cupid, compos'd of wreath'd Columns of the > Corinthian Order; the Wreathing is adorn'd with Roses, and the Columns have > several little Cupids flying about 'em, and a single Cupid standing upon > every Capital. At a good distance are seen three Arches, which divide the > first Court from the other part of the Building: The middle Arch is noble > and high, beautified with Cupids and Festoons, and supported with Columns of > the foresaid Order.
|
|
The altarpiece by Agostino MasucciThe interior of the chapel is covered with a rich white and gold stucco decoration which also extends over the outer surface of the entrance arch. The original Renaissance half-columns were embellished with Ionic stucco capitals with festoons and angel heads. The keystone of the arch is an escutcheon with crossed branches of lilies, a star and bread rolls (the traditional attributes of Saint Nicholas of Tolentino), flanked by two stucco half-figures holding garlands of fruit. The soffit of the entrance arch is decorated with angel heads, the dove of the Holy Ghost and decorative relief panels.
|
|
The earliest surviving dateable feature is of the late 16th century. It is essentially a three-room "cross-passage" house, with the original great hall on the higher side to the right of the screens passage, originally with a fireplace at the higher end. The entrance porch retains a (worn-away) sculpted heraldic shield in the apex, with a reset medieval arch probably taken from the chapel. In the lower end room survives a fireplace with a decorative plaster overmantel displaying festoons and a central lion's head which could be late 16th century, now heavily painted.
|
|
The building consists of three storeys over a high cellar and is four bays wide. The facade is rendered in a pale orange colour with white painted windows and decorative details, A cornice supported by corbels line the top of the building and a second cornice is located between the ground floor and first floor. A central, slightly recessed frieze with three festoons is located between the first and second floor. The green painted entrance door is located in the left-hand side of the building while an inclined hatch farthest to the right affords access to the basement.
|
|
In 1881, the rock, known at the time as Lone Rock, was part of the 160-acre farm of William Weedin. An anonymous 1881 letter to the Seattle Daily Intelligencer about a Fourth of July picnic at the rock described it as "in a dense forest" on Weedin's land, and as "a single rock in circumference and in height, rather oval-shaped, covered with a solid network of moss and interspersed with liquorice, with its graceful fern-shaped foliage hanging in festoons around it."Unsigned letter to the editor of the Daily Intelligencer, Seattle, July 6, 1881, quoted in Bunn 2010. This rock has an estimated mass of 700 metric tons.
|
|
The Women A writer with considerable powers of invention and wit, Luce published Stuffed Shirts, a promising volume of short stories, in 1931. Scribner's magazine compared the work to Evelyn Waugh's Vile Bodies for its bitter humor. The New York Times found it socially superficial, but praised its "lovely festoons of epigrams" and beguiling stylishness: "What malice there may be in these pages has a felinity that is the purest Angoran."Morris 1997, pp. 188–89. The book's device of characters interlinked from story to story was borrowed from Sherwood Anderson's Winesburg, Ohio (1919), but it impressed Andre Maurois, who asked Luce's permission to imitate it.Morris 1997, p. 182.
|
|
The Delhi Durbar Tiara was made by Garrard & Co. for Queen Mary, the wife of King George V, to wear at the Delhi Durbar in 1911. As the Crown Jewels never leave the country, George V had the Imperial Crown of India made to wear at the Durbar, and Queen Mary wore the tiara. It was part of a set of jewellery made for Queen Mary to use at the event which included a necklace, stomacher, brooch and earrings. Made of gold and platinum, the tiara is 8 cm (3 in) tall and has the form of a tall circlet of lyres and S-scrolls linked by festoons of diamonds.
|
|
Camillo Mantovano, ceiling of the Dining room (part.) The striking ceiling of this room, decorated with festoons with fowl, vegetables and fish, alternated with floral bands, was created by Camillo Mantovano and a collaborator around 1567. The compositional scheme, with the space divided into segments through rays that converge to center, proposes in a modern key a model used in a room of the Domus aurea. The seventeenth-century painting in the center of the ceiling, Saint John baptizing the crowd derives from the homonymous painting by Nicolas Poussin of the Louvre. According to the nineteenth-century guides, it would replace a painting attributed to Giorgione and depicting the Four Elements.
|
|
Brother Claessens was a carpenter and led the building of the church. As construction began under the supervision of Pierre-Jean De Smet, he described St. Mary's and the Salish workforce as follows: > The women hewed down the timber, assisted by their husbands, with the > greatest alacrity and expedition, and in a few weeks we had constructed a > log church, capable of holding 900 persons. To ornament the interior, the > women placed mats of a species long grass, which were hung on the roof and > sides of the church, and spread over the floor,-- it was then adorned with > festoons formed of branches of cedar and pine.Smet, Pierre.
|
|
Above there is a small fresco of the Madonna and the Child Holding a Globe with the figure a bearded donator (?) in a rectangular niche framed by painted laurel garlands. The altar is a simple block of marble with a cross bottony on its front. The slab of the ledge is decorated with a finely carved relief of the Sudarium and an almost invisible ornamentation of candelabra, oak leaf festoons, ribbons and scallops. On the bases of the stone frame of the altarpiece there are two reliefs depicting the coats-of-arms of Cardinal Francesco Abbondio Castiglioni (left) and a noble member of the same family (right).
|
|
An extravagant example: Anthony Wells-Cole, "An oak bed at Montacute: a study in mannerist decoration," Furniture History: the Journal of the Furniture History Society, 17 (1981:1ff). Following the success of Brussels tapestries woven after the Raphael cartoons, Mannerist painters like Bernard van Orley and Perino del Vaga were called upon to design cartoons in Mannerist style for the tapestry workshops of Brussels and Fontainebleau. Painterly compositions in Mannerist taste appeared in Limoges enamels too, adapting their compositions and ornamented borders from prints. Moresques, swags and festoons of fruit inspired by rediscovered Ancient Roman grotesque ornament, first displayed in the Raphael school Vatican Stanze, were disseminated through ornament prints.
|
|
It is crowned by a dome in the early style of S. Mario at Montepulciano. For the same patron, he constructed the Palazzo Montalto near Santa Maria Maggiore, with its skilful distribution of masses and tied decorative scheme of reliefs and festoons, impressive because of the dexterity with which the artist adapted the plan to the site at his disposal. After the cardinal's accession as Sixtus V, he appointed Fontana Architect Of St. Peter's, bestowing upon him, among other distinctions, the title of Knight of the Golden Spur. He added the lantern to the dome of St. Peter's and proposed the prolongation of the interior in a well-defined nave.
|
|
Decorations mainly consisted of branches of holly and festoons of ivy. After the prayers were read and a hymn sung, the parson usually went home, leaving the clerk in charge. Then each one who had a carol to sing would do so in turn, so that the proceedings were continued till a very late hour, and sometimes also became of a rather riotous character, as it was a custom for the female part of the congregation to provide themselves with peas, which they flung at their bachelor friends. On the way home a considerable proportion of the congregation would probably visit the nearest inn, where they would partake of the traditional drink on such occasions, viz.
|
|
Until recently, the earliest known depictions of this genus in Europe was of Cucurbita pepo in De Historia Stirpium Commentarii Insignes in 1542 by the German botanist Leonhart Fuchs, but in 1992, two paintings, one of C. pepo and one of C. maxima, painted between 1515 and 1518, were identified in festoons at Villa Farnesina in Rome. Also, in 2001 depictions of this genus were identified in Grandes Heures of Anne of Brittany (Les Grandes Heures d'Anne de Bretagne), a French devotional book, an illuminated manuscript created between 1503 and 1508. This book contains an illustration known as Quegourdes de turquie, which was identified by cucurbit specialists as C. pepo subsp. texana in 2006.
|
|
Between the capitals the bays were decorated with a frieze of festoons and paterae, and below these were oblong panels with relief subjects. In Cruikshank's time the windows were furnished with elegant scrolled pelmet-heads of gilt wood supporting swagged draperies, and Rococo looking-glasses filled some of the wall panels. He shows the orchestra playing in a balcony with a gilt trellised railing, but in a position it can hardly have occupied, and two-tiered crystal chandeliers hang from the ceiling. In the Old and New London view, these have been replaced by huge lustres of cut glass, hanging from a flat ceiling with a shallow segmental cove, the general form of which was probably original.
|
|
At the time of its construction the church was located in the middle of a city block, surrounded by the institutions of the Serbian Orthodox community. The dense urban grain of the neighbourhood was gradually broken up during the 19th century and finally the area was totally demolished in the 1930s creating a wholly new spatial situation where the church became a solitary building in a park. The nave of the cathedral was three bays long, covered with Baroque Bohemian vaults, with a shallow apse in the east and a vaulted narthex on the west. The double transverse arches sprung from pairs of Corinthian half pillars with elaborate capitals decorated with festoons.
|
|
First Minister Alex Salmond and his cabinet in the Drawing Room, 2011The present green colour scheme in the drawing room dates from 1985 when the damask curtains were introduced. The room features original elaborate ceiling plasterwork, with the frieze repeating the same festoons found in the ceiling decoration. In 1923, Lord Bute and Balfour Paul complemented this ceiling by introducing new doorcases in the same Adam style, together with an inlaid chimneypiece with a central tablet depicting Venus and Cupid and vases echoing the frieze. The new single-leafed doors replaced 19th-century double doors, which connected this large drawing room at the front of Bute House, to the back drawing room that is now the cabinet room.
|
|
David J. McCutchion mentions the Bengal deul (1598) with terracotta designs on four sides, the Jora Shiva temple and Shiva temple of the Nandi family (1802) with rich terracotta façade, the straight corniced navaratna temple (1845) of Vrindavana Chandra with plaster festoons and the brick-built, ridged twin deul Krishna temple (1598) with rich terracotta on all sides. He also mentions the navaratna dolmancha with "baroque" vase turrets at Amdabad, near Baidyapur. McCutchion, David J., Late Mediaeval Temples of Bengal, first published 1972, reprinted 2017, pages 22, 37, 53, 54, 70, 76. The Asiatic Society, Kolkata, He further elaborates that in the tradition of Odisha, the porch or (a kind of assembly hall) is under a separate roof.
|
|
"Life" by Karl Bitter The walls of the main hall are covered with red Italian brocade (woven fabric) and with pilasters and cove (concave-profile) moldings of carved American walnut. Over the mantle of the marble fireplace in the main hall is a six-foot marble relief, weighing two tons, called "Life" by Karl Bitter. The relief won the gold medal at the Saint Louis Exposition, 1904 and is placed on a foundation extending to the cellar. The dining room of the house features wood paneling with multiple stained glass windows, triglyphs with guttae below in the frieze, and carved bound laurel leaves in the corner cabinet featuring brass festoons and bellflowers.
|
|
This is a > coarse and very irregular building; the body, which is formed of brick, and > ornamented with stone rustic work at the corners, is ninety-three feet in > length, sixty-three feet in breadth; and the height of the tower and turret > is eighty feet. The principal door is ornamented with a kind of rustic > pilasters, with cherubs’ heads by way of capitals, and a pediment above. The > body is enlightened with a great number of windows, which are of various > forms, and different sizes, a sort of Venetian, oval and square. The square > windows have ill-proportioned circular pediments; and the oval, or more > properly elliptic windows, some of which stand upright and others cross- > ways, are surrounded with thick festoons.
|
|
Archaeological finds from this period include colored glass ingots, vessels (often colored and shaped in imitation of highly prized hardstone carvings in semi-precious stones) and the ubiquitous beads. The alkali of Syrian and Egyptian glass was soda ash (sodium carbonate), which can be extracted from the ashes of many plants, notably halophile seashore plants like saltwort. The latest vessels were 'core-formed', produced by winding a ductile rope of glass around a shaped core of sand and clay over a metal rod, then fusing it by reheating it several times. Threads of thin glass of different colors made with admixtures of oxides were subsequently wound around these to create patterns, which could be drawn into festoons by using metal raking tools.
|
|
On top of a candelabrum, rising from the cyma, stands the impressive statue of the Eternal Father. The candelabrum is held by two putti, symbols of the sky, and four dolphins, symbols of the sea, all covered with festoons with fruit, symbols of the earth. On the cornice at its base is in the middle a small Pietà, flanked by two winged angels (the Angel of the Annunciation and the Angel of the Passion), while on the four corners stand the four Evangelists in oriental robes. The lower part of the cyma is surrounded by several free-standing figures, the Patron Saints of Bologna: Saint Francis of Assisi, St. Petronius (began by Niccolò but finished by young Michelangelo in 1494), Saint Dominic and Saint Florian.
|
|
David J. McCutchion mentions the Bengal deul (1598) with terracotta designs on four sides, the Jora Shiva temple and Shiva temple of the Nandi family (1802) with rich terracotta façade, the straight corniced navaratna temple (1845) of Vrindavana Chandra with plaster festoons and the brick-built, ridged twin deul Krishna temple (1598) with rich terracotta on all sides. He also mentions the navaratna dolmancha with ‘baroque’ vase turrets at Amdabad, near Baidyapur. McCutchion, David J., Late Mediaeval Temples of Bengal, first published 1972, reprinted 2017, pages 22, 37, 53, 54, 70, 76. The Asiatic Society, Kolkata, According to the List of Monuments of National Importance in West Bengal the two ancient temples (joined together) at Baidyapur or Baidyapur Jora Deul is a monument of national importance.
|
|
Like many others, remaining both in this island and in Rheneia, it is adorned with bulls' heads and festoons. Another fragment of an inscription mentions Sarapis; and as both these were nearly in the same place where Spon and Wheler found another in which Isis; Anubis, Harpocrates, and the Dioscuri were all named, it is very probable that the remains of white marble belonged to a temple of Isis. Among them is a portion of a large shaft pierced through the middle, in diameter; and there is another of the same kind, in diameter, half-way up the peak of Cynthus. As the centre of the circular Aegean islands ("Cyclades"), Mount Cynthus offers superb views of the innermost islands: Mykonos, Naxos, Paros, Syros, and Rhenia.
|
|
The ark comprises three stages: a base, a central body, and the cymatium. The base is made up of two distinct bands of equal width, the first smooth in gray stone and the second in white marble with a decoration of festoons. The central body is the most elaborate from an artistic point of view and has five historiated panels, three on the front and two on the sides, depicting some stories of the life of Saint Apollonius. From the left side panel, proceeding to the right, there are the Imposition of the priestly robes to Saints Faustino and Giovita, the Preaching to the people, the proof of the Eucharist, the baptism of Calocero and the death of Saint Apollonius.
|
|
Court painter to the Gonzagas for over 40 years, Mantegna's prestige meant he was granted a funerary chapel in the basilica which served their Marquisate of Mantua - this was the first side-chapel on the left beside Leon Battista Alberti's nave. Correggio was probably in Mantua at the time of Mantegna's death and probably came up with the overall scheme as well as doing much of the actual painting. In general the chapel was inspired by the plan for the chapel of pope Innocent VIII in the Belvedere in the Vatican, painted between 1488 and 1490 and destroyed in the 18th century. Historic descriptions record (among other things) its Stories of St John the Baptist and its trompe l'oeil marble fittings, vaulting, festoons, domes, putti and cherubs.
|
|
Seventeen bacchantes (personifications of the female servants of Bacchus, the ancient Roman god of wine) standing on orbs, their outstretched arms holding candleholders, could be inserted into small rectangular pedestals at equidistant points around the centerpiece. Although surtout de table were common in elegant English and French dining rooms, few Americans had seen them and the piece deeply impressed those who saw it. Other ormolu items included three pedestals for crystal vases (one large, two small), consisting of the Three Graces holding up a basket; three porcelain vases in the Etruscan style and ornamented with festoons of flowers; and a pair of pedestal stands, or trepieds, consisting of sphinxes sitting on slender legs, their upraised wings supporting a shallow bowl. Monroe also ordered the White House's first tableware and dinnerware.
|
|
The Equatorial Region (EZ) is one of the most stable regions of the planet, in latitude and in activity. The northern edge of the EZ hosts spectacular plumes that trail southwest from the NEB, which are bounded by dark, warm (in infrared) features known as festoons (hot spots). Though the southern boundary of the EZ is usually quiescent, observations from the late 19th into the early 20th century show that this pattern was then reversed relative to today. The EZ varies considerably in coloration, from pale to an ochre, or even coppery hue; it is occasionally divided by an Equatorial Band (EB).Rogers (1995), pp. 133, 145–147. Features in the EZ move roughly 390 km/h relative to the other latitudes.Rogers (1995), p. 133.Beebe (1997), p. 24.
|
|
In addition to the standard repertory of decorative moldings in the form of cartouches, festoons, cornices, consoles, of special artistic value is the anthropomorphic plastic located in the central part of the roof of the building. It consists of two figures made from artificial stone, modeled on ancient sculpture. On the left of the richly decorated aedicule there is a figure of a woman with a wreath, and on the right, there is a man with the beam and snowplow. Construction work, strength of structural compositions, the richness and variety of materials, precision and quality of artistic handicraft realized in accordance with a high level of architectural and artistic results were achieved in this extraordinary Jovanović's work in the field of residential architecture of Belgrade, by the end of the last century.
|
|
The building is on three floors: The ground floor, a warren of cellars and store rooms, is low; its small windows indicating by their size the lowly status and usage of the floor, above which is the double-height banqueting hall, which falsely appears from the outside as a first-floor piano nobile with a secondary floor above. The lower windows of the hall are surmounted by alternating triangular and segmental pediments, while the upper windows are unadorned casements. Immediately beneath the entablature, which projects to emphasize the central three bays, the capitals of the pilasters are linked by swags in relief, above which the entablature is supported by dental corbel table. Under the upper frieze, festoons and masks suggest the feasting and revelry associated with the concept of a royal banqueting hall.
|
|
In 1872 the villa, which is in pure neo-classical style, was sold and since then it has formed the central nucleus of the Grand Hotel Villa Serbelloni which was opened in 1873. Its interior reflects the good taste loved by the wealthy nobility of the time: its walls and ceilings are adorned with frescoes and paintings of mythological scenes, gilded frames, festoons, temples, putti, flamingos, and Pompeian reds. The coffer ceilings are often frescoed with floral patterns in grey and pink tones. The guests are fascinated by the period wall coverings in French style, the antique Persian carpets, the crystal chandeliers from Murano, the Imperial furniture, and the neo-classical and Art Nouveau style; not to mention the marble staircases, the stucco work columns, and the splendid trompe l'oeil.
|
|
Traditional flowerpots in unglazed terracotta in Charles Darwin's laboratory at Down House Terracotta flowerpot in Italy, decorated with festoons Jiffy pots: peat pots that are biodegradable and may be planted directly into the soil Victorian decorative flowerpots at Kindrogan House, Enochdu, Scotland A flowerpot, flower pot, planter, planterette, or alternatively plant pot is a container in which flowers and other plants are cultivated and displayed. Historically, and still to a significant extent today, they are made from plain terracotta with no ceramic glaze, with a round shape, tapering inwards. Flowerpots are now often also made from plastic, metal, wood, stone, or sometimes biodegradable material. An example of biodegradable pots are ones made of heavy brown paper, cardboard, or peat moss in which young plants for transplanting are grown.
|
|
Desiderio took over the essential compositional scheme of an elevated triumphal arch containing a sarcophagus and effigy bier from the Bruni monument but transformed the sobriety of the earlier memorial into a work of heightened decorative fancy. In the Marsuppini tomb, Desiderio placed standing children holding heraldic shields on either side of the sarcophagus, draped long festoons from an ornate candelabra which surmounts lunette sarch, and positioned running youths above the pilasters which frame the funeral niche. In the niche itself he ignored the symbolism of the Trinity by using four instead of three panels as the backdrop for the sarcophagus. To increase the visibility of the deceased scholar and statesman, he tilted Marsuppini's effigy forward toward the viewer and carved elaborate floral decorations on the rounded corners of the lion-footed sarcophagus.
|
|
South side of the palace in February 2007 The original design by Simon de la Vallée and Tessin the Younger, based on French Baroque and Renaissance prototypes, was H-shaped in plan, the planned two southern wings flanking a main court, while the northern wings surrounded a small Baroque garden. The central building was covered by a tall steep-pitched, copper- dressed roof surrounded by the cupolas of the corner pavilions, while the façades were decorated with Ionic pilasters, festoons and portraits of Roman Emperors. The Reduction in 1680 (e.g. the Crown recapturing lands earlier granted the nobility) dramatically reduced the financial power of the Bonde dynasty, and therefore, following the devastating fire of the royal palace Tre Kronor in 1697, the Royal Library and the Svea Court of Appeal were lodged in the Bonde palace.
|
|
A Sheraton style chair with rectangular back Sheraton is a late 18th-century neoclassical English furniture style, in vogue ca 1785 - 1820, that was coined by 19th century collectors and dealers to credit furniture designer Thomas Sheraton, born in Stockton-on-Tees, England in 1751 and whose books, "The Cabinet Dictionary" (1803) of engraved designs and the "Cabinet Maker's & Upholsterer's Drawing Book" (1791) of furniture patterns exemplify this style. The Sheraton style was inspired by the Louis XVI style and features round tapered legs, fluting and most notably contrasting veneer inlays. Sheraton style furniture takes lightweight rectilinear forms, using satinwood, mahogany and tulipwood, sycamore and rosewood for inlaid decorations, though painted finishes and brass fittings are also to be found. Swags, husks, flutings, festoons, and rams' heads are amongst the common motifs applied to pieces of this style.
|
|
He died the following year, and the replica replacement promised as part of the purchase was eventually sent around 1750; it was probably by Charles-André van Loo and still hangs in the cathedral.NGBT, 29; Gould, 244 The making of the frames had been a cause of argument between Raphael and Sebastiano. Perhaps as a tactic to prevent a public side-by-side display in Rome, Raphael wanted the frames made on arrival in France, but Sebastiano insisted they be made in Rome.NGTB, 26 Sebastiano evidently prevailed, as below the replica in Narbonne the altar still has part of a "sophisticated" frame in gold on blue that carries above the two festoons the Medici impresa of a diamond ring with feathers rising through it, and the motto SEMPER ("always"), and is presumed to be from Rome.
|
|
Born in Basel in 1900, the son of a furniture department store owner, his parents were not in favor of Seligmann's artistic aspirations but eventually relented. After studying at the Ecole des Beaux Arts in Geneva and spending several years working in his father's business in Basel, Seligmann left for Paris where he met with his friends from Geneva, sculptor Alberto Giacometti and art critic Pierre Courthion. During this time, he also met Ivy LangtonInformation about Ivy Langton. Through Giacometti he met Hans Arp and Jean Helion, who admired his sinister bio-morphic paintings and invited him to join their group, Abstraction-Creation Art Non-Figuratif. In the mid-1930s his work began to take on a more baroque aspect, as he animated the prancing figures in his paintings and etchings with festoons of ribbons, drapery, and heraldic paraphernalia.
|
|
Illustration of a set of jabots around a window Swags are shown in brown, jabots in red and yellow, curtains in red only A jabot , also called cascade or tail, is a vertical pleated piece of window treatment used with festoons or swags along the top of a window on the inside of a building. The usual purpose of a jabot is to hide the seams between individual swags, though for treatments with only one swag their purpose is simply decorative (unlike most curtains, jabots do not serve to block the passage of light). Visually, they represent a continuation of the swag over the ends of a pole, and are always made of the same decorator fabric on the facing side as the swag itself. Jabots are often lined, however with a different style or color of fabric which is then revealed along its bottom edge with each pleat.
|
|
Ten preparatory oil sketches ("modelli") that van den Hoecke made for the series have survived (four in the Kunsthistorisches Museum, Vienna), as have eight tapestries based on the designs for Day and Night and The Months. Four of the modelli for The Months are now in the Miramare Castle in Trieste.Thomas P. Campbell, Pascal-François Bertrand, Jeri Bapasola, 'Tapestry in the Baroque: Threads of Splendor', Metropolitan Museum of Art, 1 January 2007 The cartoons of van Hoecke for the Allegory of Time series were innovative in that they dispensed with the traditional borders of the tapestries, which he replaced by elements of the picture such as piers, entablature and foreground step of the architecture as well as with sumptuous festoons of game, fowl, fish, flowers and fruit. He was also able to create an illusion of three-dimensional space by extending the architectural elements behind and around the figures.
|
|
The cult of Apollo, imported from Greece, was widespread in Campania, and from excavations in the temple's vicinity has been shown to have been present in Pompeii since the 6th century BC. The sanctuary's present appearance dates from its 2nd-century BC rebuild, and a further reconstruction to repair damage from the 62 earthquake, repairs which were left incomplete at the time of the eruption. The temple, in the center of a sacred enclosure, was surrounded on all four sides by a wide series of tuff columns from Nocera, originally grooved and with Ionic capitals, that were being replaced with stucco columns and Corinthian capitals painted in yellow, red and dark blue. Plan of the temple The elegant Doric architrave of metopes and triglyphs resting on the columns was transformed into a continuous frieze with griffins, festoons and foliage. Today, the remains of the temple front appear as they originally did, since almost all of this transformation in plaster has disappeared.
|
|
Eyewitness Travel Family Guide New York City The École nationale supérieure des Mines de Paris and the Odéon theatre stand next to the Luxembourg Garden. Fountain of the Observatory The central axis of the garden is extended, beyond its wrought iron grill and gates opening to rue Auguste Comte, by the central esplanade of the rue de l'Observatoire, officially the Jardin Marco Polo, where sculptures of the four Times of Day alternate with columns and culminate at the southern end with the 1874 "Fountain of the Observatory", also known as the "Fontaine des Quatre-Parties-du-Monde" or the "Carpeaux Fountain", for its sculptures by Jean-Baptiste Carpeaux. It was installed as part of the development of the avenue de l'Observatoire by Gabriel Davioud in 1867. The bronze fountain represents the work of four sculptors: Louis Vuillemot carved the garlands and festoons around the pedestal, Pierre Legrain carved the armillary with interior globe and zodiac band; the animalier Emmanuel Fremiet designed the eight horses, marine turtles and spouting fish.
|
|
The term Sarbangin itself > derives from Chandan's poem 'Kobitaay Sarbangin Amritakharan' and an > accompanying theoretical essay 'Sarbangin Kobita Jagga' published in > Kobisena, a sister publication of Prakalpana Rabindra Bhattacharya left the movement thereafter soon. But Kobisena has been continuing its run still today, piloted by the same editor to publish its new kind of Sarbangin Poetry and to popularise poetry through public performances of poetry reading even in unlikely places like outside the corn field in a village, in front of book stalls of Bengal Cultural Conference, at Kolkata Book Fair, or Kolkata Art Fair, in spite of being encountered by other stall owners which hampered their sales due to the gathering of large crowd attracted by their open readings. In 1973, Kobisenas even stormed into the East Zone Cultural Conference, convened by the government, in procession with posters and festoons and questioned the organizers as to why the new poetry and poets had not been included as the subject of discourses, which resulted in pandemonium and hurried closure of the day's session and thereafter the capture of the dias by the Kobisenas and rejuvenate the session.Ananda Bazar Patrika, Kolkata, 30 December 1973.
|
|
Bucrania with festoons decorating the Temple of Vesta from Hadrian's Villa (Tivoli) Corinthian columns of the Arch of Septimius Severus, in the Forum Romanum Arch of Septimius Severus in Leptis Magna Proportion is a defining characteristic of the Corinthian order: the "coherent integration of dimensions and ratios in accordance with the principles of symmetria" are noted by Mark Wilson Jones, who finds that the ratio of total column height to column-shaft height is in a 6:5 ratio, so that, secondarily, the full height of column with capital is often a multiple of 6 Roman feet while the column height itself is a multiple of 5. In its proportions, the Corinthian column is similar to the Ionic column, though it is more slender, and stands apart by its distinctive carved capital. The abacus upon the capital has concave sides to conform to the outscrolling corners of the capital, and it may have a rosette at the center of each side. Corinthian columns were erected on the top level of the Roman Colosseum, holding up the least weight, and also having the slenderest ratio of thickness to height.
|
|