977 Sentences With "friezes" | Random Sentence Generator

Sculptures and friezes were crammed with gods, animals and humans.

Commissions came, for war memorials and friezes at Pioneer camps.

Restored details include cornicing, ornate decorative friezes and ceiling roses.

The friezes use dazzling glazes of turquoise, green, brown, white and yellow.

Otherwise the work consists of five shallow plastic friezes hanging on the walls.

The lamassus and friezes survived the looters because they were too heavy to haul away.

They are decorated with embossed and colourfully painted friezes of fanged warlord deities and bound prisoners.

The owners want to preserve the frozen friezes of unicorns, reindeer and butterflies that adorn its walls.

That influence took root in what is now Turkey and produced the great carved friezes at Pergamon.

As Mr. D'Antonio reports, Mr. Trump promised to donate the friezes to the Metropolitan Museum of Art.

Odissi is reminiscent of the images of female dancers that are carved into the friezes of Hindu temples.

That influence took root in what is now modern Turkey and produced the great carved friezes at Pergamon.

An association between Indians and liberty has been prominent in official iconography, including medals, stamps and friezes, ever since.

Last year, British Labour Party leader Jeremy Corbyn announced that if elected, he would return the friezes to Greece.

But his word was empty: Citing the time and cost of removing the friezes intact, he destroyed them instead.

"I said that if the friezes could be saved, I'd be happy to donate them to the museum," Trump writes.

Supporters of Elgin claim that he removed the friezes from the at the acropolis with permission from the Ottoman Sultan.

But they also recall the stiff, official poses of everything from Egyptian friezes and Minoan frescoes to early Renaissance portraiture.

Morality, physics, theology, self-deception and grace pass between them, in halting verbosity and these friezes of guilt and incrimination.

High above the Justices of the United States Supreme Court sit two friezes containing many of history's most famous law-givers.

The jewel-like "Coreopsis" (103) made of palladium leaf, gray and black clay, and die keen, give off the aura of church friezes.

In the unique exhibit, the palace ballroom has been transformed with projections of brightly-colored images of the original wallpaper, friezes and decorations.

President Xi Jinping, expressed his support of Greece's request to win back the 2,500-year-old friezes after 30 years of British refusal.

The lobby still holds several bizarre friezes that depict and caption the silk-making process both in industrial New York and ancient China.

Over the years, the house has been transformed, with carved wood, stained glass and hand-painted friezes that evoke the 19th-century Aesthetic Movement.

They were attracted to the astonishing jumble of temples, alleys, courtyards, shrines, statuary, pagodas, friezes, vegetable-and-spice sellers, fishmongers, palaces and hashish shops.

There are friezes near the ceiling and works hovering over the floor, recalling ancient ruins where you might stumble upon an uncanny fresco fragment.

In ancient Greece, artists often turned to using temple friezes and ceramics in order to tell stories of religious ceremonies, military victories, or mythological tales.

Adorned with gold and gems and bronze friezes of animals, they were the sites of mega-parties that sometimes lasted days, according to historical accounts.

Once the friezes and frescoes and elegant columns had been taken down and the stone walls taken apart, it filled more than 800 shipping crates.

But its frontages were subtly mismatched, and its walls accented with golden, three-dimensional friezes embedded with natural motifs like flowers, seeds, roots and stalks.

Rakowitz's reconstruction project, titled The Invisible Enemy Should Not Exist (2007–ongoing), includes statues, vases, and the decorative friezes of the ninth-century palace of Nimrud.

Large, decorative friezes of polychrome glazed bricks, some of them molded into bas-reliefs, line the walls, pieced together like giant puzzles from thousands of fragments.

Constructed of compacted earth, stone and timber with fanciful trimming, the building gives way to courtyards, doors, a large stupa and fanciful statuary, painting and friezes.

The miraculous Beaux-Arts structure is entirely covered in lavish decorative elements that range from multicolored marble friezes to columns and images of deities from Greek mythology.

On the global art-fair circuit — a blur of FIACs, Friezes and Art Basels — they favored suites at Claridges in London and the Plaza Athénée in Paris.

Paneled in limed oak, adorned with gilded plaster Art Deco-style friezes, these rooms all surround a brand-new and theatrically grand central staircase flanked by private salons.

The thermoformed plastic friezes, burgundy-colored and with a fascinatingly furry texture, bring to mind vacuum-formed electronics packaging or the faux velvet interior of a jewelry box.

Within you'll find well-preserved fragments of reliefs and friezes that are centuries old, examples of famous Coptic textiles, and four gospels written in Coptic from the 1200s.

Unlike most of the museum's collection, such as the friezes and statuary, oil paintings and watercolors, armor is made to move, not sit static in a display case.

Names of Islamic State fighters, probably those who had been stationed in the church, were written on a marble wall next to one of the church's gorgeous friezes.

"Metopes," based on three Classical friezes depicting stages of Homer's "The Odyssey," are lovely works that are too rarely played and that seem to look both forward and backward.

Yet the most superb parts of the Parthenon Marbles are arguably those at the British Museum, which has the lavish pediment statues and gorgeously carved friezes and metope panels.

Although the pots and friezes describe warfare and human sacrifice, archaeologists now believe these were rituals to placate the deities of a people acutely vulnerable to drought and flood.

Deen is sometimes a busy sleuth, trying to connect the friezes he has seen in the shrine at the Sundarbans with what he learns in Venice and Los Angeles.

The 900-year-old Angkor Wat temple is Cambodia's most visited attraction — and unfortunately, the structure's steps, friezes, and bas-reliefs are eroding from the touch of so many visitors.

Public spaces now burst with vibrant colors and exuberant modern design set against a backdrop of curving stone walls and intricately carved friezes that are more than a century old.

On one wall, long bands of black-and-white stylized friezes of battles, with lines of refugees and marching troops, recall Assyrian and Greek art but also depict the present.

Here, they watched over two long rooms of friezes that showed ancient Mesopotamians carrying tribute or walking beside their horses, which were finely carved with muscled flanks and elaborate reins.

Nearby, the Eros cinema, built five years later, is more visually striking with its cream-striped red-sandstone facade, ziggurat roofline, and a lavish foyer decorated with classical and Indian friezes.

At the Institute for the Study of the Ancient World, watercolors of Cretan friezes by artists in Evans's employ have an Art Nouveau ornamentation more appropriate to London's Liberty department store.

As a child, he had dragged me through silent European museums all filled with the same Roman and Greek artifacts — marble busts, plaster reliefs of statues and friezes, painted jars and vases.

Trump has also lied to preservationists, promising to preserve the Art Deco friezes from the façade of the Bonwit Teller department store building that he demolished to make way for Trump Tower.

In exchange, the developer will repair damage to broken capitals and weathered friezes and preserve much of the landmark interior, restoring the hand-painted wallpaper in the upstairs ladies' lounge, among other things.

They decorated their palaces in Nineveh (present-day Mosul) and their other cities with carved limestone friezes showing scene after scene of battle and enslavement and mutilation, brutality of the most depraved sort.

De Quincey beheld, in the "theatre" of his mind, along with "more than earthly splendours," horrors beyond belief: "vast processions" of "mournful pomp," and "friezes of never-ending stories" as terrifying as Greek tragedies.

McDermott, in collaboration with the set designer Tom Pye and the costume designer Kevin Pollard, achieved another wonder here: many tableaux played like cinematic reënactments of Egyptian friezes in motion, with surreal anachronisms intermingled.

Xi expressed his support of Greece's demand to win back the 2,500-year-old friezes during a visit to the Acropolis Museum on Tuesday, October 12, where he was accompanied by his Greek president Prokopis Pavlopoulos.

Get closer, though, and you will discover that the ribbon is actually about 3,300 seamless feet of white concrete friezes with fossil-like patterns inspired by erosion on the volcanic island of Lanzarote, in the Canaries.

The most remarkable is the spectacular St. John's Co-Cathedral, a grandiose Baroque insanity with abundant gilded ornamentation, frescoes and friezes, marble statuary and elaborately inlaid tombs in the floor, decorated with, among other images, unsettlingly animated skeletons.

International collectors flock to destination events such as the three Art Basel fairs and the two (soon to be three) Friezes, where the booths of mega-galleries like Gagosian, Hauser & Wirth, Pace and David Zwirner occupy the prime positions.

On a wall with other landscapes typical of the Hudson School, she has inserted remarkably modernist paintings that look like cold, gray friezes made of melted graphite, in which the landscape is reduced to three basic elements: air, land, and water.

Towering above the rows of standard pews and friezes showing the Stations of the Cross is a large post that branches to the ceiling — it recalls a poutokomanawa, a carved wooden central support of a traditional Māori meeting house, or wharenui.

I also looked at lots of works of scale, from ancient Egyptian friezes to the ancient caves of the Thousand Buddhas in the Dunhuang desert in China; the enormous paintings of Buddhas in the Met, and Italian renaissance paintings of scale, Titian, Veronese, Tintoretto … everything I could.

Repeated images (which the novelist and poet Jesse Ball, in a text for the exhibition catalogue, calls "Speroglyphs") gain meaning as they change context; works that are hung uncomfortably high or low amplify the impact of the whole while underscoring the historical sources of their motifs in Egyptian and Greco-Roman friezes.

My guide, Efric McNeil, the club's first female president, proudly showed off Mackintosh's whimsical details, which stand out all the more in this traditional setting: colorful friezes evoking spiked vines, ripe fruits and even female genitalia; ornately curved iron and wood vent covers; and shining metallic doorplates embossed with curved seeds and long-legged women.

The couple, who were downsizing from a 700,000-square-foot chateau, had a collection of Limoges enamels and 16th-century French and Italian ceramics around which Mongiardino created a breathtakingly embellished environment that in lesser hands might have competed with the art: legendary cabinets d'amateur, Mannerist friezes, panels of églomisé and walls covered in stenciled-over parquet.

The cornice is also embellished with friezes consisting of eagles and lion heads.

Interiors decoration comprises pillars, friezes, stuccoes, vault arches and a large examination hall.

In September 1937, while the building was still under construction, the University held a competition to design friezes for the ground level retail arcade. The competition called for friezes to include motifs representative of Western Australian flora and fauna. Western Australian artists George Benson, Clem Kennedy and William G. Bennett were the three winners of the competition and their works were included in the final construction. The friezes remain in place.

The new columns, friezes and cornices were cast at the Kirov factory in Leningrad.

Many statues and statuettes, friezes, columns, grave steles and epitaphs have been found during excavations.

George Matthews Harding painted the extravagant murals and friezes, and marble was imported from Italy.

Tourism office of Reggio Emilia The interiors contains a number of medieval stone friezes and capitals.

The pyramid lays underneath a series of terraces. The fine stucco or "friezes" are located on the final stage. The northern and southern friezes have eroded, and the others were covered during the reconstruction and over time. There is a plaster mold on the Eastern wall frieze.

About 340 large reliefs depict the Hindu theology and associated legends. Numerous smaller friezes narrate Hindu texts such as the Ramayana, the Mahabharata and the Bhagavata Purana. Some friezes below large reliefs portray its narrative episodes. The artwork in Hoysaleswara temple is damaged but largely intact.

The building was elaborately decorated. The walls and rooflines contained terracotta statues (including the Murlo cowboy) and friezes. One of these friezes depicts a banquet scene common to art of archaic Italy. The scene depicts four servants serving guests reclining on couches as well as hunting dogs.

Uys and his son Dirkie are rendered in the marble friezes of the Voortrekker Monument in Pretoria.

Embellishments include friezes beneath the second-story windows and above the porches, scrolled brackets, and fluted columns.

Throughout the monument are many references to Erbinna's power, as the friezes depict both scenes of political development (court scene) as well as scenes of battle. On the podium, the iconography is mixed, utilizing Greek iconography on the bottom two friezes and the 8th to 7th century B.C.E. Assyrian iconography of power on the top two reliefs. Each set of friezes, in the podium, architrave, and interior, each show scenes of political life and recreation, as well as civic and religious duties.

The bell tower, dating to c. 1450, has numerous friezes and a triple mullioned window with marble columns.

They, too, mainly painted pyxides and oinochoai with animal friezes. Additionally, several successors were influenced by Dodwell Painter.

Many of these friezes were signed by the artisans, the first known instance of signed artwork in India.

Close up of decorative lintel inside the temple The Navaranga has friezes showing scenes from the Ramayana and the Mahabharata.

According to Boardman, although lotus friezes or palmette friezes were known in Mesopotamia centuries before, the unnatural combination of various botanical elements which have no relationship in the wild, such as the palmette, the lotus and sometimes rosette flowers, is a purely Greek innovation, which was then adopted on a very broad geographical scale.

On one piece, he painted the suicide of Ajax, accompanied by several name inscriptions.Antikenmuseum Basel, BS 1404 His craters also depict friezes of horsemen, fighting scenes, cavalcades and animal friezes. His most important work on that shape depicts a nuptial couple in a chariot. That work marks already the transition to Late Corinthian vase painting.

The rear wing contains three servant's bedrooms connected by a side hall. Decorative plaster cornices and ceiling friezes are in several rooms.

There are moulded beams and friezes with swag motifs, integral seating and other furniture, Art Deco lighting, decorative plasterwork and an original staircase.

Flame palmettes are used extensively in India floral friezes, starting with the floral friezes on the capitals of the pillar of Ashoka, and they are likely to have originated with Greek or Near Eastern art.Buddhist Architecture by Huu Phuoc Le, Grafikol, 2010 p. 44 A monumental flame palmette can be seen on the top of the Sunga gateway at Bharhut (2nd century BCE).

On the rear there are two near the corners. The roofline is set off by two wide molded friezes divided by a narrow dentilled course and topped by a raking cornice, a treatment that continues into the broken pediment on the rear. Below the eaves on the front pediment are two plain linear nested molded friezes. The roof is sheathed in wooden shingles.

The Siphnian Treasury at Delphi has four marble friezes, one for each cardinal direction. These four friezes depict panoramic narratives through the use of carvings of the marble. The north frieze is an illustration of a battle between the Olympic gods and the giants. In the far left two giants attack Zeus in his chariot, who is no longer visible due to deterioration.

Friezes of looped open lotuses and buds also occurred but it is uncertain if these connected to the other lotus petal frieze. The paint was applied to plaster made of alluvial mud mixed with chopped straw. The decoration of the Inner Hall featured chequered and looped lotus friezes, semi-circular garlands, male and female figures, and hieroglyphs. Paintings from the north wall are the best preserved.

The famous frieze of Nike adjusting her sandal is an example of Wet drapery. Wet drapery involves showing the form of the body but also concealing the body with the drapery of the clothing. Some friezes are from the Persian and Peloponnesian wars. The friezes contained a cavalry scene from the battle of Marathon and a Greek victory over the Persians at the battle of Plataea.

The pyramid is decorated with friezes that were sculpted from stucco and coated with red paint; the friezes feature symbols that are also in the Teotihuacan style. The structure is the funerary pyramid of Sky Witness, one of the kings of the Kan dynasty.Estrada-Belli 2011, p. 138. The K'inich Na' Pyramid ("House of the Sun God") is a large pyramid approximately north of the site core.

A dominant interior feature of the Historical Society Building is the asymmetric central marble staircase and an intricate iron balustrade. The interior holds plaster walls decorated with elaborate friezes and parquet floors of marble, oak, and walnut. The halls of each of the unique floors are adorned with plaster pilasters with elaborate capitals and decorative friezes. These long corridors are laid with patterned marble with borders.

Stylised plants or plant-like arabesques, architectural features and geometric patterns are common, chosen for subjects in panels, friezes dividing walls or in spandrels of arches.

245 Although most of his later work was free-standing sculptures, Fairbanks did create several friezes for the Harold B. Lee Library on Brigham Young University campus.

The plaster cast for this sculpture, and twenty-seven casts for friezes around the building, were done by Beaumont artist Herring Coe and co-designer Raoul Josset.

The level of deterioration of the friezes makes it hard to make out the scenes. There appears to be two horses standing shoulder to shoulder followed by two bison one behind the other. Leroi-Gourhan claimed the head of a carnivore was also visible, and Bourdier identified another possible horse-form, but these last two are not confirmed. The animals on the friezes are all looking towards the Vezere Valley.

Napoleon has his arm raised in imitation of ancient "adlocutio" scenes, which depict Classical heroes addressing troops. David's composition was heavily influenced by the friezes on Trajan's column.

Although many Greek sculptors signed their work on sculpted friezes, pot painters did not often sign their work, remaining unknown until historians such as Beazley produced modern names.

These spaces are deferentially scaled with tiled gable roofs, including one annex, while simple faceted spires have been erected on the bell towers (painted white). The walls are plastered and white-washed, with the main floor, corners, pilasters, friezes, cornices and frames in black stone. The church is oriented to the southeast, with its main facade finished in an ornamented pediment, that includes a central circular clock, and crowned by an iron Latin cross above a gabled plinth and parallel elliptical scrolls, with lateral pinnacles. Consisting of two registers, the church is divided by cornices and friezes: by three rectilinear lines, with frames surmounted by convex friezes, linear cornices and windows with sills.

As with the upper gate, there are lesenes and round-arched friezes next to the gateway. The former drawbridge was replaced by a stone causeway in the 16th century.

The Corbineau were attached to the school of Jean Bullant and like him, they liked to use the apparatus in bossing, the superposed orders, the friezes decorated with triglyphs.

It is therefore assumed that he did not live and work in Athens, but only produced for a small local market in Attica. He mainly painted with animal friezes.

Starting from the top, the friezes depict; hansa (birds) in the first frieze, makara (aquatic monsters) in the second, the usual depiction of scenes from the Hindu epics are absent in the third frieze which has been left blank. This is followed by leafy scrolls in the fourth frieze. The fifth and sixth friezes exhibit high quality workmanship in depicting horses and elephants respectively.Foekema (1996), p29, p69 Many blocks of the superstructure have no carvings.

It has one of the largest surviving stucco friezes in the Maya world. Balamku was first occupied from around 300 BC. Its most important buildings date from AD 300–600.

Rieker designed "two friezes" on the War Memorial Building in Jackson, Mississippi, which is listed as a contributing property to the Old Capitol on the National Register of Historic Places.

He also assisted Rudolf Siemering to complete Johann Gottfried Schadow's "Münzfrieses" (Coin Friezes) on the Old Berlin Mint. Ironically, many of his own works were left incomplete when he died.

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.

Sandgate is a substantial two storey residence. It retains its original character and detailing including elaborate wrought iron verandahs and columns, ornate plaster cornices and friezes and full cedar joinery.

The vase is subdivided into several zones of animal friezes. In the upper area, a single mythological figure is flanked by two lions, the latter a popular motif at the time.

On Fifth Avenue and on 45th Street, the first story is topped by a bronze frieze that contains depictions of winged beasts and stylized glyphs. The second story contains steel-framed tripartite windows above the friezes. The entrances are set within bronze arches, which contain coffered piers; symbols of architecture and industry in their spandrels; and bronze letters reading above each arch. Above the second story, on both Fifth Avenue and 45th Street, are limestone friezes reading .

Ancient Greek bronze handles of a hydria (water jar), decorated with a pair of palmettes, early 5th century BC According to Boardman, although lotus friezes or palmette friezes were known in Mesopotamia centuries before, the unnatural combination of various botanical elements which have no relationship in the wild, such as the palmette, the lotus and sometimes rosette flowers, is a purely Greek innovation, which was then adopted on a very broad geographical scale throughout the Hellenistic world.

University of Notre Dame London Centre at nd.edu (accessed 9 January 2008) In 1906, friezes by Henry Alfred Pegram RA (1862–1937) were also commissioned.Henry Alfred Pegram RA (1862–1937) at tiscali.co.

For this purpose he created a show-piece on the southern side of the building, with gilded capitals and red and gilded friezes. The plan was not implemented due to budgetary constraints.

This was the former shooting lodge of Whiteslea Estate and was extensively improved and added to by Lord Desborough in the 1930s. Its interior featured enormous friezes by bird artist Roland Green.

Terracotta alabastron 590–570 BC This Middle Corinthian perfume vase from 590–570 BC contains two friezes of the hoplite phalanx. The terracotta vase uses a form of black figure and is only 21.3 cm in height. Both friezes show hoplites with a circular shield in their left hand, spear in their right, as well as a typical hoplite helmet. All of the hoplites are faced in the same way and have about the same distance in between their feet.

St. Mary's Church in Gdańsk, Poland The use of shaped bricks for tracery and friezes also can be found in some buildings of northwestern Gothic brick architecture. Virtuous use of these elements is shown in some Gothic buildings in northern Italy, where the highly sophisticated techniques originally had come from, developed in the Lombard Romanesque period. There, such brick decorations can even be found on buildings mainly erected in ashlar. Some Italian Gothic brick buildings have also friezes of terracotta.

Similar decorative friezes can be seen at the Diamond throne of Bodh Gaya, also built by Ashoka. The Queen's Edict refers to the charitable deeds of Ashoka's queen, Karuvaki, the mother of Prince Tivala.

Unlike the characteristic curve of a southern Chinese roof ridge, this one is completely straight. Decorating the roof are friezes of Chinese scenery executed in plaster relief work and wave-like gable end walls.

This vertical dominance is broken by single horizontal friezes of bright broken masonry. The upper floors are set back and are built with parabolic-shaped windows, reminiscent of Gothic arches, as a defining element.

Painted wooden friezes decorate the ceiling, include an original fresco above the main gate of by . The floor is built from stone slabs. Worshipers and other area residents are buried in and around the structure.

Nswatugi Cave. Nswatugi Cave contains beautiful friezes of giraffes, elephants and kudu. Access is from Circular Drive, west of Maleme Dam. A human skeleton was found here dating 42000 BC belonged to Middle Stone Age.

In 1993, excavation and restoration work was resumed under the guidance of Muğla Museum, by an international team advised by Professor Ahmet Tırpan. The friezes of the Hecate sanctuary are displayed in the Istanbul Archaeology Museums. Four different themes are depicted in these friezes. These are, on the eastern frieze, scenes from the life of Zeus; on the western frieze, a battle between gods and giants; on the southern frieze, a gathering of Carian gods; and on the northern frieze, a battle of Amazons.

Recent discoveries include those of chamber tombs in Vergina (1987) in the former kingdom of Macedonia, where many friezes have been unearthed. For example, in Tomb II archaeologists found a Hellenistic- style frieze depicting a lion hunt. This frieze found in the tomb supposedly that of Philip II is remarkable by its composition, the arrangement of the figures in space and its realistic representation of nature. Other friezes maintain a realistic narrative, such as a symposium and banquet or a military escort, and possibly retell historical events.

The left panel depicts Yogishvara (Shiva as the Lord of Yoga) and the right shows Nataraja (Shiva as the Lord of Dance). The Sadashiva is flanked by two large friezes, one of Ardhanarishvara and the other of Gangadhara. The walls of the mandapa feature other Shaivism legends. All the friezes, states Stella Kramrisch, feature the ' concept of Samkhya, where the state of spiritual existence transitions between the unmanifest-manifest, the figures leap out of the cave walls towards the spectator as if trying to greet the narrative.

The decoration is organized in superimposed registers in which stylized animals, in particular of feral goats (from whence the name) pursue each other in friezes. Many decorative motifs (floral triangles, swastikas, etc.) fill the empty spaces.

The architectural feature has been richly detailed with sculpture, including the: lintel, window and portal frames, pilaster bases and capitals, cornices, and friezes. Furthermore, some of the blind windows, window niches, sacristy, and scarps are plastered.

The Bharhut stupa may have been established by the Maurya king Ashoka in the 3rd century BCE, but many works of art were apparently added during the Shunga period, with many friezes from the 2nd century BCE.

Soon, the figure of the Buddha was incorporated within architectural designs, such as Corinthian pillars and friezes. Scenes of the life of the Buddha are typically depicted in a Greek architectural environment, with protagonist wearing Greek clothes.

Excavation for the monument at Lake View Cemetery began on October 6, 1885; it was dedicated on Memorial Day, May 30, 1890.Ransom, 135. Once again, Keller chose Caspar Buberl to execute figural friezes for his design.

The "Xanthian Obelisk" The Inscribed Pillar of Xanthos, also known as the "Xanthian Obelisk," was made around 400 B.C.E. Like the other pillar tombs at Xanthos, the inscribed pillar supported a raised daise with a chamber tomb, decorated on the outside with friezes. Additionally, a statue of the occupant, a king in the Xanthian Dynasty, was positioned on top. The chamber tomb was surrounded by friezes depicting scenes from the life of the owner, including hunting and battle scenes. Seismic activity in antiquity likely caused the chamber tomb of fall off.

In 1926 Thompson arrived in the Yucatan of Mexico under the direction of Morley to work at Chichen Itza. Here he started working on the friezes of the Temple of the Warriors. In his autobiography, Maya Archaeologist (1936), Thompson referred to the friezes as "a sort of giant jigsaw puzzle made worse by the fact the stones had been carved before being placed in position" accurately describing his first field experience. Later that year Morley sent Thompson to report on the site of Coba, located to the east of Chichen Itza.

The Hindu temples are generally dedicated to Shiva, but elements of Vaishnavism and Shaktism theology and legends are also featured. The friezes in the Hindu temples display various Vedic and Puranic concepts, depict stories from the Ramayana, the Mahabharata, the Bhagavata Purana, as well as elements of other Hindu texts, such as the Panchatantra and the Kirātārjunīya. The Jain temple is only dedicated to a single Jina. The most sophisticated temples, with complex friezes and a fusion of Northern and Southern styles, are found in the Papanatha and Virupaksha temples.

Figural sculpture on friezes and panels changed during the period. The heroes from the Hindu epics Ramayana and Mahabharata, depicted often in early temples, become fewer, limited to only a few narrow friezes; there is a corresponding increase in the depiction of Hindu gods and goddesses in later temples.Cousens (1926), p 26 Depiction of deities above miniature towers in the recesses, with a decorative lintel above, is common in 12th-century temples, but not in later ones. Figures of holy men and dancing girls were normally sculpted for deep niches and recesses.

Most of them are dedicated to Lord Siva and his various aspects. Gadag, the district center itself have a few attractive temples. Trikuteshwara Shiva temple is impressive with its intricately ornate pillars, screens of carved stones and friezes.

The documents report a painting "with rosettes, friezes and decorative lines". Parts of the Torah shrine were gilded.Rudolf H. Böttcher (böt): Die hebräische Schrift ist abgeschlagen (Die Rheinpfalz, Frankenthaler Zeitung - German local newspaper). No. 279, 29 November 2008.

This type is especially common in East Greece. Animal friezes are comparably rarer. Figural decorations occur in the handle zone, as do handle palmettes. Popular pictorial themes include symposia, komasts, cavalcades, duels, as well as athletic and mythological scenes.

The clapboard siding rises to a steeply pitched mansard roof with two cross-gables. It is shingled in patterned slate. The rooflines are marked by heavily molded cornices, paired brackets and decorative friezes. The gables are topped with finials.

The foundations are made of Portland cement, brick, and broken stone. The facades feature two four-story polygonal bays while the sides feature five-story polygonal bays. The names of the buildings are in friezes above the front entrances.

Unique motifs include the sacrifice of Polyxene. Often, the figures are explained by added inscriptions. The other friezes, usually two to three in number, are often decorated with animals. At times, a frieze is replaced with a vegetal band.

In addition, Majorelle employed Jacques Gruber to create the original stained glass for the house, and on the interior, the artisans created impressive painted friezes in the dining room, which contains a large ceramic Art Nouveau fireplace designed by Alexandre Bigot.

The two-storey brick building has a slate roof. The symmetrical facade has three-bays with pilasters on either side of the entrance. The portico has ionic columns. Inside the building several of the rooms plaster friezes and marble fireplaces.

The images are usually decorative, rather than narrative, in character. Horsemen, animal friezes, heraldic images or groups of humans occur. A large lotus-palmette cross is also often included. Mythological imagery is rare, but of outstanding quality when it occurs.

The eight doorknobs were of moulded gold. Friezes of delicate sculpture divided the coach: the four parts of the earth, Mercury, Liberal Arts and Amaltheia over a panther. The King, ironically, died fifteen days following his arrival: on 1 September 1715.

The statue of St Michael on the front facade is a replica of a statue made by the sculptor August Kiß for another purpose. The whole exterior is decorated with buttresses, friezes, and statues, as well as multi-coloured pricks.

The architectural lanterns and bells were removed the facade. All of the religious friezes and statues were destroyed in 1791, to be it replaced by statuary and murals on patriotic themes. Lebeurre, Alexia (2011). The Pantheon - Temple of the Nation.

The earliest known sculptured friezes depicting a group of erotes and winged maidens driving chariots pulled by goats, were created to decorate theatres in ancient Greece in the 2nd century BCE. The representation of erotes in such friezes became common, including erotes in hunting scenes. Due to their role in the classical mythological pantheon, the erotes' representation is sometimes purely symbolic (indicating some form of love) or they may be portrayed as individual characters. The presence of erotes in otherwise non-sexual images, such as of two women, has been controversially interpreted to indicate a homoerotic subtext.

Mythological events are depicted in several friezes, with animal friezes being shown in secondary locations. Several iconographic and technical details appear on this vase for the first time. Many are unique, such as the representation of a lowered mast of a sailing ship; others became part of the standard repertoire, such as people sitting with one leg behind the other, instead of with the traditional parallel positioning of the legs.on the François vase see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 37f. und Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 111f.

The temple walls contain many devakostha (niches) carved with images of Vishnu and Shiva, some of which are in various stages of completion. The temple is built on a raised moulded base, with decorative friezes of elephants, yali and makara mythical creatures. Above the kapota (eaves) are detailed friezes of ganas (playful dwarfs), who are portrayed as if they are struggling to hold the weight of the temple structure. The parapet displays hara (various kinds of string in Hindu temple texts) of various styles, including karnakutas (square), and salas (oblong), which flow with the design below them and are decorated with kudus.

"Byzantium through Armenian Eyes: Cultural Appropriation and the Church of Zuart'noc'." Gesta 40 (2001): p. 109. The exterior church design, featuring basket capitals with Ionic volute mounts, eagle capitals, and vine scroll friezes reveals the influence of Syrian and northern Mesopotamian architecture.Richard Krautheimer.

They mainly produced amphorae, hydriai and jugs. Depictions included komasts, symposia and animal friezes. Mythological motifs occur more rarely, but are already created with great care. By this time, Etruscan vase painting had begun to take its main influence from Attic vase painting.

This colossal ogival dome, today half collapsed, originally collected vapours coming from the ground below and was used for thermal baths. It was decorated with marble friezes depicting hunting scenes.Mileto S. (1998) The Phlegraean Fields , Rome, Newton & Compton, p. 39 , 40 , 42 , 43 , .

Doors and windows have molded surrounds, and doors are four panel. Surviving original mantels have simple Greek Revival pilaster and frieze compositions although some have battered jambs with eared friezes. Also in the house are two c. 1900 two stage mantels with colonnettes.

It has a gambrel roof and dormers. Trim includes friezes, bracketing, and dentilled wood running courses. A brick pergola, designed to match the house, is located on the southeast. Interior details are generally classical with dentilled ceiling moldings, pilaster strips, and frieze.

A bronze statue of Albert of Saxony by sculptor Max Baumbach was inaugurated in 1906 in front of the Georgentor and was melted in 1945 after being severely damaged. Stone friezes on the base were restored in 1990 on the original site.

And white marble is inlaid underneath the dome. The friezes of the chhaparkhats were originally covered with glazed tiles and have pyramidal roof. Traces of floral paintings can still be seen in the corners that tell about the former beauty of the tomb.

Many of them have mythological scenes on the outside and a gorgon grimace on the inside. This type of painting was also adopted by Attic painters. On their part, Corinthian painters took over framed image fields from Athens. Animal friezes became less important.

A major pillar dedicated to Aruna, called the Aruna Stambha, used to stand in front of the eastern stairs of the porch. This, too, was intricately carved with horizontal friezes and motifs. It now stands in front of the Jagannatha temple at Puri.

On occasion, multiple initials were present on the forms. In addition to making pottery vessels and objects, Paul Revere Pottery also made several ceramic tile friezes, usually depicting people interacting in wholesome environments with idyllic, romantic interactions occurring amongst characters and animals.

The Hindu temples of Singapore are built in the Dravidian style, mainly the Tamil style found in Tamil Nadu, India. This style is known for its imposing 'gopurams' or entrance towers, complex friezes, intricate carvings and paintings or murals done on the walls and ceilings.

Decorative arches and diamond pendants run between them. The windows have plain surrounds with flat shutters and drip-mold friezes. A pilastered and recessed double-paneled glazed doorway in the center of the first floor leads to the central hall. The stairway is marbleized.

It features a two-story, porch supported by chamfered posts, simple cut-out friezes, and a Chinese lattice railing. Also on the property is a contributing late-19th century barn. and Accompanying photo It was added to the National Register of Historic Places in 1982.

Examples of classical war art include the friezes of warriors at the Temple of Aphaia in Greece or the Bayeux Tapestry, is a linear panoramic narrative of the events surrounding the Norman Conquest and the Battle of Hastings in 1066.Stover, Eric et al. (2004).

There is only one case of both belly friezes having figures. Their multiple colors distinguish them from all other black-figure styles. The style recalls Ionian vase painting and multicolored painted wooden tablets found in Egypt. Men are shown with red, black or white skin.

AIA Guide to Chicago. Houghton Mifflin Harcourt, 2004, 202. The rotunda features murals and statues depicting the Elks' four cardinal virtues: charity, justice, brotherly love, and fidelity. The friezes portray the Triumphs of War on one side and Triumphs of Peace on the other.

West of the building on the south side is a large ball court with sloped sides and sculpted friezes depicting the god Quetzalcoatl. When the city fell, most of the sculptures in this area were smashed or defaced with some being reused as building stone.

It always terminates in a red-painted ridge. The vase body is painted with several friezes. The uppermost of these, on the shoulder, is usually especially notable. It often contains mythological scenes, but the first erotic motifs in Attic vase painting also occur here.

Most of the buildings lining the square are examplars of the Neoclassical architecture which characterized the building boom following the fire and dominate much of the city centre seen today. Recurrent features are accented windows with triangular frontons supported by consoles, recessed joints, and friezes, usually above the second floor, decorated with patterns such as a Greek key or a Vitruvian scroll. The friezes were sold as standard goods and could be bought by the metre from the stucco workshops. Trained architects were at this time only used for public prestige buildings and townhouses for the elite, while normal residential buildings were designed by the master craftsmen who built them.

The brown brick originally supplied by Clayburn Brick in Abbotsford and the cast-in-concrete friezes have been removed, numbered and graphed to show the original location the brick and friezes were installed on the new building in their original locations. The remainder of the building was demolished ahead of schedule by Calgary-based demolition and environmental contractor Hazco. The concrete foundation was continuously poured over 36 hours on May 11 and 12, 2008, being the largest of its kind in Canada, and third largest in the world after the Howard Hughes Center in Los Angeles and the Sama Tower (Al Durrah Tower) in Dubai.

The architectural expression was eclectic, combining classical columns and arches, stylised Art Deco details, a symmetrical Beaux Arts form with a stepped skyscraper silhouette. Designed as a memorial to World War I soldiers, the exterior features stylized Assyrian friezes, sculpted figures in military uniform, and massive cast stone warrior angels guarding the plinth and tower at every corner. The lobby features an arched ceiling painted by famed muralist Anthony Heinsbergen. Designed as a memorial to World War I soldiers, the exterior features stylized Assyrian friezes, sculpted figures in military uniform, and massive cast stone warrior angels guarding the plinth and tower at every corner.

The temple is remarkable for its architecture, sculptures, reliefs, friezes as well its iconography, inscriptions and history. The temple artwork depicts scenes of secular life in the 12th century, dancers and musicians, as well as a pictorial narration of Hindu texts such as the Ramayana, the Mahabharata and the Puranas through numerous friezes. It is a Vaishnava temple that reverentially includes many themes from Shaivism and Shaktism, as well as images of a Jina from Jainism and the Buddha from Buddhism. The Chennakeshava temple is a testimony to the artistic, cultural and theological perspectives in 12th century South India and the Hoysala Empire rule.

The third section is partially aligned with the second section, is formed by a covered varanga, with columns over two arches, forming an angle and addorsed by one of the towers. The lateral right facade has a central wing consisting of two storeys, separated by friezes with three doors and three low windows on the first floor and windows surmounted by cornices on the second. The square towers on the extremes are three storeys tall, separated by friezes with fenestrations on the first and second floors, similar to the central wing, and high windows on the third storey. Balls over plinths accentuate the cornerstones and pilasters.

The former newsroom which faces Church Street has a segmental-vaulted ceiling and an arched recess with friezes facing the windows. The friezes are painted in grisaille to imitate classical relief sculpture and are said to be adapted from Parthenon and the Temple of Apollo Epicurius at Bassae. Harrison's original ceiling was thought to be lost after a floor was added above in the early 1900s but was later restored by Edmund Percey Scherrer & Hicks in 1990 when design plans were found in the Liverpool Planning Department. Opposite the newsroom stands the former library, a circular room topped with a dome measuring 59 feet in diameter.

Preservation Resource Center, Galveston Historical Foundation, Galveston, Texas. The earliest documented description of the house, published in 1936, provides an overview of the house's interior: > ceilings of unusual height, bordered with attractive hand-made friezes, and > with hand-made center designs built about the ceiling gas fixtures.

She sculptured friezes on the Museum of Marxism–Leninism in Tbilisi, depicting the various phases of socialist construction in Georgia (1936–37). Abakelia died in Tbilisi in 1953 and was buried there, at the Didube Pantheon. Shanidze, L., "თამარ აბაკელია" (Tamar Abakelia). Georgian Soviet Encyclopaedia, vol.

Plaster friezes are still visible in the first-floor chamber above the hall, described by architectural historian Norman Redhead as crude 16th-century stuff. They depict mainly heraldic motifs, including the Elizabethan coat of arms and the Siddall family's crest, but also an "entertaining" hunting scene.

The columns stood on ephesian bases, 36 of them were decorated with life-sized friezes of human figures at the bottom of the shaft, the so-called columnae caelatae.Ulrike Muss: Die Bauplastik des archaischen Artemisions von Ephesos. Sonderschriften des Österreichischen Archäologischen Institutes. Vol. 25. Wien 1994.

From 1985-1987 D. Robin and A. Roussot took charge of excavations including rexamining the cuts of previous excavations identifying several hearths. The analyses of the lithics industry was carried out by D. de Sonneville-Bordes and C. Bourdier published a new description of the friezes.

The Independents (1944). António is in the 2nd row, fourth from the right. Lino António da Conceição (26 November 1898 – 23 October 1974) was a Portuguese artist known for his Modernist frescoes. He made many friezes, frescos, stained glass and ceramic panels for public buildings in Portugal.

200 surviving vases were found in Etruria. The body of the amphora is usually subdivided into several parallel friezes. The upper or shoulder frieze usually shows a popular scene from mythology. There are sometimes less common subjects, such as a unique scene of the sacrificing of Polyxena.

The most important subjects are animal friezes, symposia and komos scenes. Mythological scenes are rare, and when present usually show Heracles or Theseus. From the late 6th century through the 5th century a silhouette-like style predominated. Especially kantharos, lekanis, cups, plates and pitchers were painted.

The images are usually more decorative than narrative. Riders, animal friezes, heraldic pictures or groups of people are shown. A large lotus-palmette cross is frequently part of the picture. Mythological scenes are seldom, but when they occur they are in general of exceptionally high quality.

Gothic arch with paterae on a doorway on Strada Nuova in Venice In architecture, patera (pl. paterae) is an ornamental circular or oval bas- relief disc. The patera is usually used to decorate friezes and walls, and to interrupt moldings. Patera is also used in furniture-making.

The Freemasons renovated the property, adding stained glass windows and decorative friezes, removing the gallery and converting the former stage into a supper- room. It still serves as a Masonic Lodge in 2018. Lodge Kiama No. 35 has been meeting continuously in the building since 1909.

Its eastern wall has an apse. On the west side, an arch opening leads to the western part of the southern section. The eastern part features wall decorations and friezes on the arches and apse's niche. Corinthian helmets decorate all the buttresses except those facing west.

The building has been realized in the style of early, classic modernism. On the one hand, vertical elevations are highlighted as structural elements of the building by using strings loggias, balconies and bay windows. On the other hand, vertical divisions are highlighted using pilaster and friezes between windows.

The building shows a large pointed-arched window (now mostly bricked-up) and two smaller round- arched windows, one on each side, as well as a gable with 18th century framework. Remnants of the gate structure can be seen in the lesenes and the black glazed, round-arched friezes.

The southern archway was demolished along with a third of the colonnade in 1928. The structure consists of a recessed semicircular arch flanked by four fluted round Corinthian columns. An angel relief is carved into each of the arch's extradoes. The arch has friezes with decorative eagle medallions.

Taller, narrower window lights the priest's chamber which was above the chancel, but which is now blocked and inaccessible. Two orders of blind round- headed arcading above billet frieze. Blind rectangular panels in the east gable. On the north and south sides of chancel are arcade and billet friezes.

This technique is exemplified in the Masonry friezes found in Delos. Both techniques used mediums that were locally accessible, such as terracotta aggregates in the base layers and natural inorganic pigments, synthetic inorganic pigments, and organic substances as colorants.Macedonian soldier (thorakitai) wearing chainmail armor and bearing a thureos shield.

The temple has two inscriptions in old Kannada, as well as a standing Shiva and standing Ganesha. The mandapa walls also show various friezes and reliefs, including more amorous couples. The temple is flat on the top, lacking a superstructure. The temple is likely from the 7th century.

In 1993, excavation and restoration work was resumed under the guidance of Muğla Museum, by an international team advised by Professor Ahmet Tırpan. The friezes of the Hecate sanctuary are displayed in the Istanbul Archaeology Museums. Some of the archaeological finds unearthed are on display in Mugla Museum.

The Temple of the Small Tables which is an unrestored mound. And the Thompson's Temple (referred to in some sources as Palace of Ahau Balam Kauil ), a small building with two levels that has friezes depicting Jaguars (balam in Maya) as well as glyphs of the Maya god Kahuil.

It was customary for people who sought victory in war to worship these hero stones to bless them with victory. They often carry inscriptions displaying a variety of adornments, including bas relief panels, friezes, and figures on carved stone. The Wootz steel originated in South India and Sri Lanka.

The east gable The door of the porch The church has a cruciform plan and is built in red brick to a Neo- Romanseque design. The roof is topped by an octagonal flèche. The chancel faces north-east. Decorations include corner leseness and round arched friezes on the gables.

In various places, the artists added humor by placing dwarfs and monkeys supporting the front raised leg of the horses. The band above the horsemen friezes is a scroll of nature. It shows flowers, fruits, occasionally some peacocks and wildlife. The band above it is the mythology frieze.

Elaborately designed mechanisms connect to the narrower lower case with the console.Edskes, Vogel (2016). Arp Schnitger and His Work. p. 8. The richly decorated cornices, stands and friezes of the facade echo the appearance of the previous instrument, or perhaps parts of the old ornamentation were re- used.

Above that was another denticulated cornice with gargoyles. The pedestals above the Corinthian columns featured statue groups. The arcade's smaller arches were supported at the spring line by fluted Doric columns. The arches had similar motifs, but were only reached to the base of the larger arches' friezes.

In the room on the right there are exhibitions of wood handicrafts, especially those used in the old houses, such as beams, friezes, canecillos and carved tablets. Finally, the left alcove is dedicated to the archaeological remains and keeps tombstones, cipos, Cordoban capitales and arcas of the time.

Throwing sports have a long history. Modern track and field comes from a lineage of activities that dates to the Ancient Olympic Games. Artwork from Ancient Greece, in the form of friezes, pottery and statues, attests to the prominence of such sports in the society's physical culture.Rosenbaum, Mike.

Even so, she still copied Raphael's "Portrait of Bindo Altoviti" in Munich for the Duke and produced a drawing of the friezes of Leo von Klenze's Apollotempel at the Nymphenburg Palace for Goethe. The duke then granted her request for a further scholarship in Italy, again of 400 Taler.

They are two or three stories tall. Among the carriage houses, 161 and 163 are distinguished by rock-faced brick with limestone trim. Equestrian symbols such as saddle pouches, horse heads and reins are carved into their ground floors. Their galvanized iron friezes are further decorated with embossed garlands and rosettes.

Below each first-floor window are friezes. The door is set back about two feet into the façade, atop three stone steps. As of 2017, the building is painted salmon pink, with its trim painted white.9 Fore Street on Google Street View It was previously painted cream, with white trim.

Each facade of the palace was decorated with molded friezes and reliefs.Massie, p. 22. In September 1781, as construction of the Pavlovsk Palace began, Paul and Maria set off on a journey to Austria, Italy, France and Germany. They traveled under the incognito of "The Count and Countess of the North".

On the left of the front of the building facing Lord Street is the two-bay entrance to the Cambridge Arcade, and on the right is an arch linking it to the Atkinson Art Gallery and Library. Both of these have inscribed friezes, and both are included in the listing.

The corbels of the pillars are curved and of roll-moldings. Horizontal friezes in the form of mini shrines are also carved above the corbels, though incomplete. There are three chambers in the cavern with the central chamber being a square of , whereas the other cells are integral to the wall.

The main altar (1757) is dedicated to Saint Jerome. It is made of Carrara marble with gilded bronze friezes. At the center of the frontal plaque there is the saint beating his chest. On either side, two plates represent Saint Teresa (at left) and Saint John of the Cross (at right).

Above both the chancel arch and the (liturgical) east window are painted decorative friezes; the latter was renewed in the early 1990s. Other internal fittings include three sedilia, a wooden pulpit, a simple octagonal font and a wooden reredos with tablets showing the Ten Commandments, Lord's Prayer and the Nicene Creed.

Madho Sarup Vats (1952), The Gupta Temple at Deogarh, Memoirs of the Archaeological Survey of India, Vol. LXX, pages 15-20 with footnotes Some of these friezes are now in museums such as the National Museum in Delhi. These show, for example, the narratives from the Krishna legend. Sanctum door reliefs.

It retains its original double-pitched timber roof. To the southeast of the body of the church stands a six-storey bell tower, with arched windows on each floor. The building is constructed from granite blocks, with decorative elements and windows in pumice. The facades are decorated with friezes and pilasters.

The current colonial style main house, the cellars and the keeper's house, date to 1909. They feature cornices and friezes. During the second construction stage in 1916, the powerhouse was added, which also accommodated the grain shredder. Various styles can be seen in its construction, including the Renaissance and neoclassical.

Stylistically, he resembles the earlier Ragusa Group, which was strongly influenced by Corinthian vase painting. He was very productive. Most of his vases were decorated with “degenerate animal friezes” (John Boardman). His conventional name is based on the cross-hatched polos crowns worn by the women, animals and sirens he painted.

The clay of the vases is mixed with gold mica, which is normal in Hittite pottery. They were turned on a potter's wheel. After they were turned, figures made of high-quality clay were attached to the surface of the vases, in friezes. The surfaces were hatched to encourage adhesion.

The bishop's house stands several hundred feet from the church. It is a modest two-story wood-frame structure, by , clad in shiplap siding. Single-story wings extend to the east and west of the main block. The cornices of the second story roofline have elaborately carved friezes and carved wooden corbel blocks.

The center bay of each set of five being the widest. On each side are carvings on the wall with four horizontal rows of friezes. These narrate Hindu legends and Puranic mythologies from the Shaiva, Vaishnava and Shakta traditions. Each storey has moulded horizontal projections (cornices) with floral arch-shaped motifs (gavaksha).

67-75 London 2009 Behind the chapel there was a corridor leading to the burial chamber, which was also decorated. On the walls are painted friezes of burial goods and long funerary texts. In the burial chamber there also stood the sarcophagus of the queen. The chamber was found disturbed, when excavated.

Above this are two friezes of yalis (or makara, an imaginary beast) and hamsas (swans). The vimana tower is divided into three horizontal sections and is even more ornate than the walls.Foekema (1996), p. 24Quote:"Art critic Percy Brown calls this one of the distinguishing features of Hoysala art", Kamath (2001), p.

Torquato Conti had leased the excavation site from the canons of the church. Conti presented the precious fragments to his relative Cardinal Alessandro Farnese. Conti then sent Dosio to his castello at Poli, where Dosio executed the stucco friezes that may still be seen there in the ground-floor apartments.Valone 1976:537ff.

The Earl's coat of arms fills the pediment and, to left and right, are eighteenth-century friezes depicting agriculture and the arts. Inside the house, an octagonal entrance hall has doors in each of its four angles. Two of them really are entrances to other rooms. The others to give a balanced effect.

The Silk Building was designed by Clinton & Russel Architects in the Italian Renaissance style. Construction began in 1908 and was completed in 1912. The building was initially constructed to be a factory space for workers producing silk garments. The only remaining traces of the factory are the two friezes in the lobby.

106 There is a sarcophagus sunk into the floor decorated with friezes of objects and an offering list.Rasha Soliman: Old and Middle Kingdom Theban Tombs, London 2009 , p. 106-107 Meru is also known from a stela now in the Museo Egizio in Turin. Here his parents Iku and Nebti are mentioned.

The aryballos became larger and were given a flat base. The Pholoe Painter is well known, his most famous work being a skyphos with a picture of Heracles. The Dodwell Painter continued to paint animal friezes, although other painters had already given up this tradition.On the Dodwell Painter, see Matthias Steinhart: Dodwell- Maler.

The base of the clubhouse is limestone and features decorative molding. The building is made of yellow brick with a limestone cornice between the first and second floors. The block sill windows on the first floor feature voussoirs. The more elaborate second floor double hung windows include panel architraves, friezes, and overhangs.

Aurelio Buso (active c. 1520) was an Italian painter from Crema. He studied under Polidoro da Caravaggio and Maturino da Firenze, and assisted them in several of their works at Rome. He ornamented the palace of the noble family of Benzoni at Venice with friezes and other works in the style of Polidoro.

The three-storey palazzo has a pentagonal floor plan which follows the shoreline of the Grand Canal. It has tall windows with centrings, divided by false columns and decorated with friezes. There were once polychrome marble and porphyry slabs, now lost. The medallion on the facade once incorporated a painted St Mark's lion.

In 2004 Gregor was commissioned to sculpt three large-scale bronze exterior architectural friezes at the Olympic Club Building at 665 Sutter Street, San Francisco. Other architectural commissions include The Spa at Pebble Beach. In 2013, Gregor's piece The Oracle was acquired by the American Museum of Ceramic Art in Pomona, California.

They were restored in the museum. Vase B, the smaller one, which includes an image frieze, was published by Sipahi in 2001, while the restoration of Vase A, which has four image friezes, was still ongoing.Sipahi, 2001a & b. Vase A was finally published in 2002 by Yıldırım, at the Hittitology congress in Ankara.

The west gable's arch frieze is a copy of the one at Hammlev Church near on Djursland. Koch had previously surveyed the chalk churches of the area around Grenå and published a book about them in 1896. The sides of the building have friezes, executed in chalk by Th. Bærentsen, and are segmented by lesenes .

His amphorae are decorated with several friezes. His band cups resemble works by Tleson and Lydos, but are more conventional in terms of the animal motifs. He also painted a lydion, a vase shape very rarely produced by Attic potters. He is often seen as connected with the Affecter, but also with the Amasis Painter.

It contains a 17th- century image of Xavier in upholstered woodMorna, Escultura, no. 20 (p. 64). and is flanked by pairs of fluted Corinthian columns, whose lower thirds, as well as the friezes between the columns, are carved and gilded. The two oil paintings on the side walls, attributed to José de Avelar Rebelo (fl.

Mosaic in the audience room of the bath house of 240px The Umayyads are known for their desert palaces, some new and some adapted from earlier forts. The largest is Qasr al-Hayr al-Sharqi. The palaces were symbolically defended by walls, towers and gates. In some cases the outside walls carried decorative friezes.

Built according to a standard design in 1978, the station features pillars faced with white marble and accented with vertical strips of anodized aluminum. The walls are also white marble and are decorated with friezes containing the names and coats of arms of the various cities and towns surrounding Moscow. Sviblovo's architect was Robert Pogrebnoi.

19 The platform on which the temple stands, the jagati, comprises five plain moldings (without friezes). The outer walls of the shrine are plain but for regularly spaced slender pilasters. The tower of the shrine has a finial called the kalasha (decorative water-pot like structure). Below the finial is a heavy dome like structure.

The canopy of the god stands on a pedestal, and is supported on four silver pillars with fine spiral flutes and richly carved friezes, bases, and shafts. The statue is of polished black marble.Shree Kutch Gurjar Kshatriya Samaj : A brief History & Glory of our fore-fathers : Page :27 by Raja Pawan Jethwa. (2007) Calcutta.

From there they travelled widely through Persia, to Tehran, Esfahan and Shiraz. Jane Dieulafoy documented the pair's explorations in photographs, illustrations, and writing. She took daily notes during her travels, which were later published in two volumes. At Susa, the couple found numerous artifacts and friezes, several of which were shipped back to France.

Robert Manuel Cook, Greek Painted Pottery, Routledge, 1997, p. 43. olpe with registers of lions, bulls, ibex and sphinxes, c. 640–630 BC, Louvre It was characterized by an expanded vocabulary of motifs: sphinx, griffin, lions, etc., as well as a repertory of non-mythological animals arranged in friezes across the belly of the vase.

The facade, in the Art Deco style, consists of three bays of four windows separated by pilasters. The art deco treatment returns for some distance along the southern wall. The windows, now painted, are all small, slender rectangular openings. Decorative friezes occur between the pilasters at each change in level, and again on the parapet.

Its street address and principal vehicular access are on de La Gauchetière; pedestrian access is assured by numerous links through neighboring buildings. The station is adorned with art deco bas-relief friezes on its interior and exterior. The station building and associated properties are owned by Cominar REIT as of January 2012. Homburg Invest Inc.

The rectangular tower, is marked by an eastern portico at the ground floor, in addition to a smaller secondary rectangular opening. The first floor includes two small rectangular friezes and additional twin-trilobed windows. Meanwhile on the second are rectangular windows, that substitute older panes. The entire tower is covered in merlons surmounting machillations.

The church's facade. The church's interior The cathedral has a huge Romanesque gate, with magnificent floral friezes. The interior has three naves, and the middle one is surmounted with a lunette representing the Virgin and the Child. The Renaissance hall has several chapels: the most venerated image of Farfa is housed in the Crucifix Chapel.

The 'Tripurantaka Temple (also called Tripurantakesvara or Tripurantakeshwara) was built around c. 1070 CE by the Western Chalukyas. This temple, which is in a dilapidated state, is in the historically important town of Balligavi (also called Balagamve), modern Shivamogga district, Karnataka state, India. The exterior walls of the temple have erotic sculptures on friezes.

He was the leading artist of the Gorgoneion Group. He mainly decorated kylikes and kraters. His favourite subject, found on nearly all his cup exteriors, were his eponymous scenes of horsemen; he also painted fighting scenes and animal friezes. As usual within his group, the interiors of the cups were decorated with a gorgon’s head.

Like other Hindu temples, the friezes of the Mallikarjuna temple show kama and mithuna scenes of amorous couples. In other places, artha scenes such as a worker walking with an elephant carrying a log and single women with different emotional expressions are carved into stone; one of these women carries an 8th-century musical instrument.

The Mercer County Courthouse in Princeton, West Virginia was built in 1930–31 in the Art Moderne style. Designed by Alex B. Mahood, it is the most significant example of the style in southern West Virginia. Friezes above the front and rear doors were designed by Mrs. S.L. Mahood, the mother of the architect.

A beautifully crafted wood-and-metal door can be notice at the main entry. The name Villa Flora is related to murals adorning the gone loggia. The interior of the building is adorned with painted friezes - birds and flowers. Also survived until today a magnificent woodwork and panelling, the ceiling with gold decorations, all made in papier-mâché technique.

The focal point is a three-story square tower capped by a mansard roof with dormers. Its first two stories are brick and the third story is wood with corner pilasters. The friezes above the windows of the main facade are concrete. The other decorative elements are rather simple and include plain cornices and relatively unadorned porches.

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.

This was largely down to its position as a centre of the woollen trade, being a centre for the finishing of Welsh cloth. Shrewsbury merchants bought cloth, which had been woven and fulled but not finished, such as friezes and plains, in Oswestry market. After finishing, much of it was sent by road to London for sale.

There is an elaborate cornice and the walls resemble courses of travertine block work. Shallow pilasters divide the long walls, with a decorative frieze of small pointed arches running between them. Another frieze line sits further down the wall sections at door head height. Brass candelabras are attached to each pilaster in line with these lower friezes.

Designed on a plan reminiscent of a Greek cross, the facades have a strict symmetry. The building has two floors above a raised basement, with mullioned and transomed windows. Each floor had three rooms with a staircase in the south projection of the cross. The exterior of the building is decorated by friezes of a religious nature.

Ornamentation includes garlands and paterae on the friezes. A large marquee covers the sidewalk in front. Inside, the arcade that connects the entrance to the theatre features space for (originally) 14 boutiques, with five copper- framed glass windows. A marble staircase leads to the upstairs offices, and the box office and showcase are paneled in Walnut.

The Church of Nossa Senhora do Bom Despacho () is the parochial church of the civil parish of Almagreira, located in the municipality of Vila do Porto, Portuguese archipelago of the Azores. It is a church of masonry, plastered and painted, constructed with decorative pilasters, friezes and cornices, molds and corner pinnacles, with a carved retable and tile covering.

Mixed-use development began to appear, with new houses having commercial space on the first story and living space above. Ornate storefronts survive at 79 South Ferry and 104 Madison. Older houses also saw their facades updated with timely decorations like bracketed cornices, metal lintels and ornate friezes. Third stories were added to some flat-roofed buildings.

Especially typical of his and his workshop's creations is the use of white ground under the ornamental friezes, and more generally, the generous use of white paint. Another characteristic of the artist's work are plant and checkerboard patterns on white ground, subsequently copied by other workshops. His palmette-lekythoi resemble the works of the Class of Athens 581.

Niksothenes created or introduced several vase shapes, but the Nikosthenic amphora is his most famous innovation. The clay of the Nikosthenic amphorae is bright orange- red, and thus provides a perfect base for black-figure vase painting. Their decoration follows quite varied patterns. Sometimes, they are subdivided in two or three separate friezes, mostly of plant and animal motifs.

The recolhimento (or shelter house) is an irregular U-shaped building, with a wing parallel to the church. The two-storey edifice is built of friezes, corners and frames in grey stone; the eastern facade is surmounted by cornice and marked by rectolinear veins, corresponding to the doors and windows on the ground floor, the larger door and windows.

A chandelier hangs from an ornate plaster medallion in the library ceiling. Also in the library is an Italian marble fireplace with colonnettes, paneled spandrels and finely carved friezes and cartouches. It has a cast iron fireboard ornamented with a brass crane. On the south side, the dining room has a similarly foliated band around the ceiling.

Two friezes, each 55 feet long and 10 feet tall, stand on either side of the Pavai. One of them showcases the 20 young men in Tamil Nadu such as Abdul Rahoof, Muthukumaran, Murugadasan, Pallapatti. Ravi who had self-immolated in support of Tamil Eelam. The other frieze represents the people who had died during the fourth Eelam war.

For more details on restoration, see Kronick and Kliment. Restorers also worked to return surfaces to their original color, re- tinting exterior stucco, and preserving, restoring, or repainting interior stencil friezes as necessary. Wood trims were refinished and waxed, and the mural by Charles Livingston Bull was cleaned. The art glass windows were repaired and cleaned.

Notices printed by the farm began with the verse, "If a Cobbler by trade, I'll make it my pride, the best of all Cobblers to be; and if only a Tinker, no Tinker on earth shall mend an old Kettle like me"; this verse and several other mottoes decorated friezes on the interior walls of the Dalmeny boarding house.

Also these civilizations reused 2nd-century Roman elements. Have to say that is very-usually at the al-Andalus territory that Muslim liked to build on Visigothic buildings. The large number of Visigothic decorative reliefs forming friezes and Roman cornices embedded in the walls is surprising. The current church is still oriented south-east, in the direction of Mecca.

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 walls are made of boulders and rubble stone, joined together with mud mortar. A shallow niche in the south wall might be a mihrab. The walls are decorated with stencilled friezes of palm tree and palmettes in blue-green. A barely legible inscription above the door gives a 14th-century AH (late 19th-century CE) date.

In most of the rooms of the house the friezes depict biblical scenes. In the drawing room is a representation of Christ with the children, the north bedroom has Christs entry into Jerusalem, another room depicts Christs descent from the cross. The scenes are taken from a book Vita, Passio, et Resurrection Jesu Christi published in Antwerp in 1566.

Spero's most mature work lives along the lines of a peinture feminine. This is when a women is the subject as well as the "artistic consciousness". Spero's open-ended, thought provoking compositions of ruthless uncomfortable subject matter was depicted in hangings and friezes. This is seen in Helicopter, Victim, Astronaut, made in 1968 of gouache and ink on paper.

The Parvati temple has an upper storey with a doorway. The temple includes both religious motifs and secular scenes such as amorous mithuna couples. The temples are notable for some of the earliest known stone friezes narrating several scenes from the Hindu epic Ramayana.B.C. Shukla (1990), The Earliest Inscription of Rama-Worship, Proceedings of the Indian History Congress, Vol.

It is composed of a two-story main block that is three bays wide, and a projecting full-sized projection with a polygonal bay on the north side. The whole structure is built on a limestone foundation. The house features shallow hipped roofs; wide, bracketed eaves; brick friezes that are painted white; and two wooden verandas.

The practice of cranial deformation was brought to Bactria and Sogdiana by the tribes who created the Kushan Empire. Men with such skulls are depicted in various surviving sculptures and friezes of that time, such as the Kushan prince of Khalchayan., p. 15 In the Americas, the Maya, Inca, and certain tribes of North American natives performed the custom.

The War Memorial Building is a historic building in Jackson, Mississippi, U.S.. It was designed by architect Edgar Lucian Malvaney, and built in 1939–1940. It has been listed on the National Register of Historic Places as a contributing property in the Capitol Green since November 25, 1969. With . Sculptor Albert Rieker designed two friezes on the building.

Greeks used terracotta for capitals, friezes, and other elements of their temples like at Olympia or Selenius. Domestically they used it for statuary and roof tiles. The Etruscans used terracotta for roof tiles, encased beams, and enclosed brick walls with it. The Roman terracotta innovation was the underfloor or hypocaust heating system that they used for their bath houses.

The original Rincon Annex building is a former United States Post Office, designed by Gilbert Stanley Underwood in the Streamline Moderne style, and completed in 1940. It was listed on the National Register of Historic Places in 1979. The exterior of the building is decorated by dolphins in stone relief friezes above the doorways and windows.

Green tile medallions (paterae) are centered over the pilasters in the friezes below the first and second story cornices. Both roofs are flat and topped with brick parapets. The cornice and exterior trim are painted metal and stone. The one-story sun porch at the front elevation projects out from the main mass of the two-story building.

It is sometimes even difficult to perceive an actual religious message behind the scenes. (The devotee scene on the right might, with doubt, depict of the presentation of Prince Siddharta to his bride. It may also just be a festive scene.) About a century later, friezes also depict Kushan devotees, usually with the Buddha as the central figure.

In Gandhara, such friezes were used as decorations on the piedestals of Buddhist stupas. These soldiers could be Indo-Scythians, or possibly Phrygian troops from the Hellenistic realm. Another relief is known where the same type of soldiers are dancing and playing musical instruments. The instruments are a small harp, a hand drum and a small portable xylophone.

After graduating, he was granted the Staatspreisstipendium (1890/1891), a scholarship that enabled him to continue his studies in Rome. When Schram returned, he worked as a portrait and decorative painter in Vienna. During the 1890s, he visited several other European and Middle Eastern countries. From 1909 to 1911, Schram created allegorical friezes in the Austrian Parliament Building.

On the first register is an arched portico flanked by framed pilasters and surmounted by a friese dating back to 1808, and the second floor with large window with curvilinear frame. The three-storey tower is divided by friezes with small rectangular windows on each register and a belfry on the third register, crowned by pyramidal ceiling.

The two main arched entranceways consisted of recessed semicircular arches, each flanked by four fluted round Corinthian columns. Two angel reliefs were carved into each of the arches' extradoes. The arches had friezes, with decorative eagle medallions. Above this was a denticulated cornice, and above that, a wider frieze with triglyphs and alternating medallions with classical busts.

The upper part containing the nonextant reservoir boasts high windows, an adorned attic, a pseudo-battlement and running motifs friezes. The gable roof is crowned with a conical roof topped by a ridge turret, enclosed by the round observation deck. Part of the interior decoration is still visible: walls with wood panelling and colorful stained glass windows.

Some mythological scenes by him are also known. Especially famous are his small-fornat mythical scenes placed within animal friezes. The KX Painter can be considered the first Attic Painter to achieve a quality at par with that reached in Corinth, then the dominant centre of Greek vase painting. Imitations of his works are known from Boeotia.

A medieval towers and the two main gates of the wall surrounding the village. Part of the Historical Museum, includes artifacts and heirlooms such as weapons, friezes, noble coats of arms, cadastral maps and other archeological finds from the Roman period. The restored interior and staircase allow access to panoramic views of the Mid-Tiber valley.

These studies continued into 2008 when a restoration of the site began. Large columns along the main street near the gate named for Domitian were erected again. A number of houses from the Byzantine period were also unearthed, including an 11th-century courtyard house. Many statues and friezes were transported to museums in London, Berlin, and Rome.

In 2019 the Spanish National Research Council found that one of Blumenthal's Spanish Ceilings is now owned by the country of México and is in the Instituto Cultural Helénico of México City. It´s Labours of Hercules and Thriumphs of Caesar friezes were found in 1992 in the basement of the Musée des Arts Décoratifs of Paris, where they are now exhibited.

The building presents architectural forms of Modern architecture and Eclecticism. The facade is adorned with stylish ornaments, such as Auricular style details, characteristic of Mannerism and Rococo periods. The massive facade is flanked by two piles of balconies with wrought iron balustrade. The first floor is decorated with bas-reliefs and gargoyles, whereas the third level is enriched with cartouches and upper friezes.

It is 7.5m wide, 63m long and 17.5m in total height. It consists of a base of red marble paved stones, upon which stand Corinthian columns with blue-veined marble as the shafts with white bases and capitals. These columns support an entablature with architrave and richly decorated friezes and cornices. A large marble wall encloses the back of the stage scaenae frons.

The design work included intricate shapes and patterns made from plaster used to adorn walls and furniture. It was also used to create wood and floor designs. Designs additionally include friezes, large pier mirrors, and marble mantles. Greek revival components apparent in antebellum architecture includes doorways often recessed and glorified by columns of correct proportions, appropriate pilasters, and heavy entablatures.

One particular teacher (Mrs. M. Foster) was so delighted with the friezes he drew around the top of her blackboard that she made a considerable effort to retain them even after he left teaching. He was well-liked by all his pupils and fellow teachers. His first interest in music came when he joined a local band called the Cyclones.

Next to the front portal is this one of the beginning of the 16th century, its decoration is of Plateresque style, with smooth pilasters and a series of friezes. It gives way to the cloister, where in that part is the Puerta del Jaspe of 1507, in yellow and red marble; it is the oldest Renaissance part of the cathedral.

The Reverdit rockshelter, which has a small source and was later used as a shepherd's hut, was first excavated in 1875 by Alain Reverdit. A more scientific excavation was done between 1911 and 1914 by F. Delage, finding two layers dating to the Magdalenian. In 1923 Castanet found damaged sculpted friezes on the ceiling, displaying a horse and some bisons.

The Group of Rhodes 12264 is a Group of Attic black-figure vase painters, active in Athens around the middle of the 6th century BC. They belong to the so-called Little masters. The Group is named after the Droop cup inv. 12264 in the Archaeological Museum of Rhodes. They painted exclusively cups, mostly Droop cups with friezes in the handle zone.

Immediately inside the entrance is a hall laid with a stone and marble patterned floor. The ceiling has a saucer dome supported by eight marble Ionic columns in a circle. In addition it contains decorative anthemion friezes and a stone and marble patterned floor. The morning room in the east corner is in a late 19th century Adam/Wyatt style.

While still at school in his village Sidharth started painting signboards. Working as an apprentice with village mason Tara Mistry, he learned the art of creating murals and friezes. Later he went on to learn Thangka painting technique from the Tibetan monks in Mcleodganj. He spent some time with artist Sobha Singh (painter) too at his studio in Andretta, Himachal Pradesh.

The interior of the house has detailed woodwork, including beaded moldings, friezes, fireplace mantels, and door frames. The main parlor still has its original wallpaper. Samuel Bucknam had this house built in 1820-21. He was the grandson of John Bucknam, one of Columbia Falls' earliest settlers, who established a lumber mill and then a shipyard on the Pleasant River.

The large dome connecting the transept to the main hall was decorated with friezes and pillars. Three small apses and two very large pillars were added to support the small flank towers. Pediments were added to the three open sides of the chancel. In general, the western section of the cathedral was extensively decorated to keep up with the newly renovated eastern section.

Graysontown Methodist Church is a historic Methodist church building located near Graysontown, Montgomery County, Virginia. It was built in 1895, and is a one-story, three-bay, nave plan frame structure clad in weatherboard. It has a two-stage central tower, with bracketed friezes and pyramidal roof. and Accompanying photo It was listed on the National Register of Historic Places in 1989.

The friezes on the outside entrance depicting Indian farmers, and the stone fountains inside, were designed by Lockwood Kipling, father of novelist Rudyard Kipling. The market covers an area of 22,471 sq m (24,000 sq ft) which 5,515 sq m (6,000 sq ft) is occupied by the building itself. The structure was built using coarse buff coloured Kurla stone, with redstone from Vasai.

The bracelets similarly are moveable. The design of the ceiling follows the Hindu texts, and is a modified utksipta style with images placed in concentric rings. One of four ceiling dome madanikas, with an inscription on pedestal. Other reliefs inside the hall include large images of Vishnu avatars, friezes of the Vedic and Puranic histories, and more scenes of the Ramayana.

Molded baseboard runs around the entire room. The windows are complemented by panels in the wall below and a two-inch (5 cm) wooden drapery rod with acorn finials above. In the ceiling plaster is a molded cornice and two friezes, with a sunflower surrounded by other floral motifs at the center. The decorative centerpiece of the parlor is the black stone mantelpiece.

Most of the current building was added in the 1620s by George Luttrell and his wife Silvestra Capps. It was then used as a farmhouse until the 20th century when the latest descendants of the Luttrell line lived in it again. The house includes a hall and gallery with a large kitchen area. The interior of the house is noted for plasterwork friezes.

There are many decorative elements constructed in basalt, such as the frames, rectangular windows and ornate door. The main facade is marked by picture windows on the first floor and several friezes and cornices over the coat-of- arms of the family. Its interior includes a central vestibule, open to the front by arched entrance over pilasters, from which was constructed a staircase.

The Triumph is preceded by togatus accompanied by female captives. A similar pictorial program is followed on the other relief friezes. The costuming is deeply drilled as to show the definition of the folding with little attention paid to the body forms underneath. While elements of the arch are “severan baroque” they do not adhere to the baroque ideology of motion.

Wall in the Huaca Dragon or Arco Iris. The Huaca del Dragon, also called Huaca del Arco Iris is an archeological site located in the Peruvian city of Trujillo, near Chan Chan. It is a large religious monument, administrative and ceremonial center. It is constructed of adobe, with murals decorated with friezes in relief showing human figures and representing a rainbow.

Entry to the verandah is gained via stairs at right angles to the gable projection and through a set of double lattice doors. Its open edge is decorated with tapering, chamfered timber posts. Between each post is an arched frieze panel in-filled with timber battens and divided by a carved timber drop. The ends of the arched friezes rest on timber capitals.

Other versions were circulated to Dublin, Melbourne, Montreal, Winnipeg, Halifax and elsewhere. Other memorials include those to James Arthur (Glasgow), Joseph Pease (Darlington), John Vaughan (Middlesbrough) and John Biggs (Leicester). In New Zealand, he commemorated William Sefton Moorhouse in Christchurch. He is also remembered for his classical friezes, especially reliefs for Glasgow City Chambers, George Square, and panels for the Municipal Buildings, Bath.

The first pieces of the Ara Pacis were recovered in the 16th century, and various friezes were incorporated in renaissance structures such as Villa Medici on the Pincian Hill. In 1566, the Tuscan Cardinal Giovanni Ricci di Montepulciano, also the superintendent of water acquired nine large blocks of curved marble from the altar and incorporated them into the walls of Villa Medici.

In these friezes, painters also began to apply lotuses or palmettes. Depictions of humans were relatively rare. Those that have been found are figures in silhouette with some incised detail, perhaps the origin of the incised silhouette figures of the black-figure period. There is sufficient detail on these figures to allow scholars to discern a number of different artists' hands.

The most important painter of this early time was the Gorgon Painter (600–580 BC). He was a very productive artist who seldom made use of mythological themes or human figures, and when he did, always accompanied them with animals or animal friezes. Some of his other vases had only animal representations, as was the case with many Corinthian vases.

He was presumably the last Attic vase painter to put animal friezes on large vases. Still in the Corinthian tradition, his figure drawings are a link in the chain of vase painters extending from Kleitias via Lydos and the Amasis Painters to Exekias. Along with them he participated in the evolution of this art in Attica and had a lasting influence.

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.

The images are usually angular and stiff, and contain animal friezes, scenes of daily life, especially symposia, and many mythological subjects. Of the latter, Poseidon and Zeus are depicted especially frequently, but also Heracles and his twelve labors as well as the Theban and Trojan legend cycles. Especially on the early vases, a gorgon grimace is placed in a cup tondo.

At this time Etruscan artists tended to follow Attic models and produced primarily amphoras, hydriai and jugs. They usually had komos and symposia scenes and animal friezes. Mythological scenes are less common, but they are very carefully produced. The black-figure style ended around 480 BC. Toward the end a mannerist style developed, and sometimes a rather careless silhouette technique.

In Sicily, Arab-Norman architecture combined Occidental features, such as the Classical pillars and friezes, with typical Arabic decorations and calligraphy. The principal Islamic architectural types are: the Mosque, the Tomb, the Palace and the Fort. From these four types, the vocabulary of Islamic architecture is derived and used for other buildings such as public baths, fountains and domestic architecture.Copplestone, p.

Glazed details draw attention to the regular friezes, pinnacles, traceries on the one hand and the geometric pattern thread embedded in the wall on the other hand.The richness of ceramics detail, wrought iron decorative elements are also remarkable. The facades on the riverside present biforium and triforium windows. Acute overhead arch windows are decorated with an alternating arrangement of red and glazed bricks.

The facades are plastered and painted in beige, circled by entablatures of granite and decorated by friezes and cornices in granite. The principal facade (oriented to the southeast) is marked by several faces, some detached and slightly advanced, framed by granite wedges, formed by overlapping silhouettes with filled joints. This facade includes a composition with three windows, interconnected by granite parapets.

The main entrance is defined by a rendered masonry portico off-set to the south of the small front verandah. Internal walls are mostly rendered brick and the floorboards are of pine. The main reception rooms feature coffered ceilings. The ornate friezes, cornices and dados in the principal rooms, which were restored in the early 1980s, are thought to date from the 1880s.

To some extent these inscriptions can be seen as "titles". He also tends to use all available space on a vase for figural depictions, often arranged in two or three registers. Sometimes, the individual zones are structured by opulent ornamental friezes. The Darius Painter is considered the first painter to have fully exploited the possibilities of large-format vase painting.

The furniture, other than the recently added altar and communion rails, was designed by Paley and Austin. The choir stalls are decorated with pierced friezes, and have poppyhead finials. The wooden pulpit is polygonal, and is decorated with a frieze of pierced tracery. The font consists of a square bowl in an octagonal stem, with black marble shafts at the corners.

Both the main temples and the Nandi shrines are based on a square plan. The temple was carved from soapstone. It is notable for its sculptures, intricate reliefs, detailed friezes as well its history, iconography, inscriptions in North Indian and South Indian scripts. The temple artwork provides a pictorial window into the life and culture in the 12th century South India.

After her death in 1991 Suzanne de Saint-Mathurin donated the site and her archives to the French state. Genevieve Pinçon continued excavations at the site as part of a multi-disciplinary team including Ludmila Iakovleva, the frieze was published in 1997. A visitor centre has been built around the site in order to protect the friezes and present them to visitors.

Each of the corners of the building also project from the main building and have arched windows on the second story. The interior may be the more significant part of the building. The rotunda is separated from the hallways by column screens. The rotunda also features wide friezes with medallions, oval opening in the floor, wooden balusters, and brass railings.

The dado has similar friezes. The walls are decorated with marble mosaics centered by a Kufic inscription of Allah, and on the northern wall there is a panel made totally of white marble inlaid with green gypsum. The function of the small room in the southeast corner is unknown. The pulpit is original and decorated with a geometric star pattern.

Furthermore, she maintained contact with her colleagues in the western part of the city. At her retirement in 1982 she received a special permanent visa for the DDR. Her successor was Max Kunze. Rohde focused on the Pergamon altar, its historical and art historical significance, worked on the friezes and the Greek vases of the Berlin Antikensammlung and the Schlossmuseum Gotha.

Tyrrhenian amphora by the Prometheus Painter. Front: amazonomachy – Herakles combats Andromache, Telamon fights Anipe and Iphis (Herakles’ wife) fights Panariste. Unknown origin, '’circa 550 BC. Athens: National Museum. The animal friezes and use of colour resemble Corinthian vase painting. It is likely that the Attic vase painters copied Corinthian examples, so as to improve their products’ attractivity on the Etruscan markets.

The important Greek site of Foce del Sele, a sanctuary complex dedicated to the goddess Hera, is at the ancient mouth of the river, though little remains on the site; the relief friezes and other finds are now in the museum at Paestum. At this period the Sele represented the border of the Greek and Etruscan zones of influence along the coast.

The building has a Roman cement render with a steeply pitched plain tiled roof. It is a cruciform plan with triple diagonal stacks on a ridge plinth at the crossing of the two ranges. The upper storey and attic is under a gabled dormer. Friezes of grapes and foliage bands in cement are found around the eaves and across the ground floor.

The three front access doors are very impressive. UNESCO declared it Cultural Patrimony of Humankind in 1993. It is considered one of the most important edifications of the 30 Jesuits towns in the region. The stone pulpit, the friezes of angels, the rose-shaped carved stone in the lintels in the doors, and the bell tower stand out in its architecture.

The second horizontal section has depictions of the Hindu epics and Puranic scenes executed with detail. Above this are two friezes of yallis or makaras (imaginary beasts) and hamsas (swans). The vimana (tower) is divided into three horizontal sections and is even more ornate than the walls.Art critic Percy Brown calls this one of the distinguishing features of Hoysala art.

In its center, the ceiling carries the coat of arms of Jean Thier: "Azure three bells placed two on one" (three gold bells on a blue background). Jean Thier commanded indeed a very personal decor. The elements of its image are the major decorative features of the room. The friezes of bells that adorn the walls gave his nickname to the firm.

The tower was built on a quadrilateral plan, using the Vendian brickwork. Following the 19th century reconstruction, it has four storeys and a usable attic; the original division into storeys was different, demonstrated by Gothic brick friezes laid diagonally. There are 19th century shooting ranges adapted to firearms on the ground floor. The upper floors have large openings closed in sections with wooden shutters.

It was put on this list again in 1970. The tenement house was renovated between 1972 and 1973. During the works, its former spatial layout was restored, reconstructing, among others, a tall vestibule with a kitchen corner, a staircase and a wooden suspended room (ground floor). Renovation also included the building's façade decorated with a sharp-edged portal, brick friezes and vertical recesses decorated with traceries.

As a result of the rotation of the Earth, this functions as a decorative and reasonably-accurate clock. The building is also decorated with a number of plaster casts of classical friezes throughout the central atrium and a 19th-century copy of the Baptistery doors from Florence is located on the ground floor. These were part of the original design scheme by the architect James Hibbert.

Several of the rooms retain the original wallpaper and friezes, those of the drawing room being especially ornate and intact. The service extension also is of brick, but the design is Gothic with attic rooms. Two rooms were added to this wing early in the twentieth century. Two huge weeping figs and the original gateposts remain at the corner of Flower and Palmer Streets.

It was completed by Giovanni Battista Falcetti in the first half of the seventeenth century. The upper floor of the new palace has a number of halls that have ceilings and friezes from the Tibaldi school. There is a large gallery painted by in chiaroscuro style Antonio Bonetti with sculptures by Ubaldo Gandolfi. The gallery was opened in 1769 when senator Fulvio Bentivoglio became Gonfaloniere of Bologna.

Many of his vases bear only animal friezes, but he also had a special interest in Herakles and his deeds. Most of his vase paintings make copious use of added colour. His figures are usually depicted in dynamic poses. Besides the Paris Painter, who exerted a strong influence on him, the Tityos Painter is considered the most important representative of the Pontic Group of vase painters.

Cupids in multiples appeared on the friezes of the Temple of Venus Genetrix (Venus as "Begetting Mother"), and influenced scenes of relief sculpture on other works such as sarcophagi, particularly those of children.Janet Huskinson, Roman Children's Sarcophagi: Their Decoration and Its Social Significance (Oxford University Press, 1996), p. 41ff. Tiepolo As a winged figure, Cupido shared some characteristics with the goddess Victoria.Clark, Divine Qualities, p.

The corner octagonal tower, marking the main entrance, has a bell-shaped roof with small dormers in each roof segment. Adjacent to the tower is a polygonal brick lift tower. The verandah's feature decorative cast iron balustrades and friezes with timber posts and handrails. The semi-circular arched and circular windows to the tower have cream painted cement render dressings to contrast with the red brick.

Horizontal friezes in relief on the outer wall enclosure of Hazara Rama temple, depicting life in the empire. Most information on the social life in the empire comes from the writings of foreign visitors and evidence that research teams in the Vijayanagara area have uncovered. The Hindu caste system was prevalent. Caste was determined by either an individuals occupation or the professional community they belonged to (Varnashrama).

The interior has a Victorian stone reredos with a pannelled screen from 1923 forming the vestry. The fan-vaulted screen with the remains of friezes was originally made for St Audries Church in West Quantoxhead in the 15th century and moved to Exford and reassembled in 1929. The parish chest is from 1772. The organ was designed by Ninian Comper and presented to the church in 1924.

The facade is mostly designed with brick walls and limestone trim. The base of the facade is ornamented with two bronze entrances and multiple mythological figures, while the top contains a "tower" with Mesopotamian bas-reliefs and faience tiles. Other multicolored details such as ornamental friezes ornament the facade. The Middle Eastern design motifs are also used in the lobby, which contains a polychrome vaulted ceiling.

Byron was a bitter opponent of Lord Elgin's removal of the Parthenon marbles from Greece and "reacted with fury" when Elgin's agent gave him a tour of the Parthenon, during which he saw the spaces left by the missing friezes and metopes. He denounced Elgin's actions in his poem The Curse of Minerva and in Canto II (stanzas XI–XV) of Childe Harold's Pilgrimage..

On the lintel of the entrances, friezes of Krishna-leela scenes are carved inside, while the outer side narrate legends from other Hindu texts. Above the lintel is Garuda, the vahana of Vishnu.Gwalior Fort: Gwalior, ASI Bhopal Circle, Government of India The Bahu temple also has a square sanctum with side, with four central pillars. Its maha-mandapa is also a square with side, with twelve pillars.

In the center of the hall is a large open square, above which is a domed ceiling about 10 feet in diameter and 6 feet deep. At the top is a lotus bud with Brahma, Vishnu and Shiva carved on it. At the bottom of the dome is a series of friezes with the Ramayana story. On the capitals of the four pillars are madanikas (Salabhanjika).

It now houses a marble statue. The northern facade of the Main Building faces onto a small courtyard that overlooks Ross Oval. The major features of the northern facade are regular rows of double hung timber windows with arched pediments and decorative plaster friezes between each level. The brick-paved courtyard is bounded by the Chapel on the west and a modern classroom block on the east.

Reverdit rockshelter 2011 The Reverdit rockshelter is a rockshelter with sculpted friezes dating to the Upper Palaeolithic, specifically the Magdelenian. It is situated in the commune of Sergeac, in the Vezere Valley of the Dordogne region in France, close to many other sites with surviving palaeolithic art, including Lascaux Cave. It is part of a complex of 12 rock shelters known as Castel Merle.

Samuel James Kitson (January 1, 1848November 9, 1906) was a British-American sculptor active in the United States from about 1876 to 1906. He maintained studios in New York City and Boston. Many of his works were religious in nature, and he also completed a number of busts of prominent Americans. His work, mostly in marble, consisted of full-body statues, head and shoulder portraits, and friezes.

Stairway (sideways) During the colonial period, this palace was considered one of the most sumptuous in New Spain. The structure covers 2,762 m2, has a masonry foundation, thick masonry walls, and the facade covered in tezontle. The main entrance and portal are done in cantera, a grayish-white stone, as well as the central balcony. There are also friezes on the facade done in basalt.

' by Claude Bertin, before 1697 (Musée du Louvre) Claude Bertin (died 1705) was a French sculptor, who was part of the highly trained team that supplied sculptures for Versailles. His monumental marble vases, following the type of the Borghese Vase, with rich bas-reliefs of fruit, swags of ivy or friezes of mythological scenes, executed between 1687 and 1705, still adorn the terraces of Versailles.

In the first chapel is a San Gregorio Taumaturgo by Costanzo Cattanio. Another chapel has a San Gaetano and a Resurrection by Alfonso Rivarola known as il Chenda. Among the columns and pilasters, are canvases depicting the Life of San Gaetano by Cesare Mezzogori. He also painted friezes of angels in chiaroscuro on the ceiling and canvases around the Altar of the Purification of the Virgin.

The font of c. 1130–40 was probably a gift to the church from Henry of Blois, Bishop of Winchester. The friezes on its sides depict the creation of Adam and Eve and the Temptation (north face); the Expulsion from the Garden of Eden and Adam being shown how to dig (east face); and various animals, birds and dragons on the south and west faces.

The Nine Dragon Wall The temple consists of traditional Chinese architecture with red pillars, a gold roof with blue friezes, yellow latticework and multi- coloured carvings. There is a Nine-Dragon Wall modelled after one in Beijing. Some of the halls include the Great Hall () and the Three-Saint Hall (). The Three-Saint Hall is dedicated to Lü Dongbin, Guan Yin, and Lord Guan.

Similar classical detailing on the house includes a modillioned and bracketed cornice, Adamesque garlanded friezes, and terra cotta escutcheon on the second story. Inside it has two fireplaces of imported Italian marble on the first floor, and much of its original woodwork. On the east is a one-story, two-bay garage of cinderblock, added later on. It is not considered contributing to the property's historic character.

McFarland & Company, Inc., Publishers His grave is adorned with a bench that contains friezes of a baseball and bat, an aircraft, a piano, a flower pot, musical notes, and a chef's toque. His name and birth and death dates are inscribed on the toque. The United Nations held a memorial tribute to him at their New York headquarters on the evening of October 21, 1987.

Alabastrons with cylindrical bodies from Andros are rare, as are lekanis from Thasos. These are reminiscent of Boeotian products except that they have two animal friezes instead of the single frieze common for Boeotia. Thasian plates rather followed Attic models and with their figured scenes are more ambitious than on the lekanis. Imitations of vases from Chios in the black-figure style are known.

Buddha. 1st century BCE, Gandhara. During the 2nd to 1st century BCE, sculptures became more explicit, representing episodes of the Buddha's life and teachings. These took the form of votive tablets or friezes, usually in relation to the decoration of stupas. Although India had a long sculptural tradition and a mastery of rich iconography, the Buddha was never represented in human form, but only through Buddhist symbolism.

The mansard roof features include limestone entablatures, architraves, friezes, and an urn balustrade. Many of the original details remain inside the house, despite renovations that have occurred through the years. The Arts and Crafts style entrance hall leads guests to the Colonial Revival style reception room on the east side of the building. The stair hall and oval library are on the west side of the building.

Original west facade, now part of the Grand Atrium The original building was designed by Albert Randolph Ross of New York. It was built in a Beaux-Arts style (sometimes referred to as Second Renaissance Revival-style), using white Vermont marble on a gray granite base. It has two stories and a basement. The west facade is lively with arches, columns, friezes, and carved cherubs.

On the dropped friezes there are pairs of cherub heads between bunches of fruits. Inside the niche of the baptismal font there is a relief depicting the Baptism of Jesus. The coats of arms on the plinths belong to Cardinal Flavio Chigi. Parapet Marble parapet slabThe 15th-century parapet with the coats-of-arms of a Della Rovere cardinal is probably the finest in the basilica.

Paul Granlund was the sculptor in residence at his alma mater, Gustavus Adolphus College, from 1971 until his retirement in 1996, and maintained a studio at the institution until his death. Over 30 works are on campus, including the friezes and doors of Christ Chapel.Paul Granlund, His Life (Gustavus Adolphus College) While artist in residence, he taught notable Minnesota bronze sculptor Nicholas Legeros from 1978 to 1980.

In her 1983 exhibition at Susan Caldwell, she introduced an architectonic element to her work with a freestanding, screen- like painting and rectangular canvasses arranged in tau, lintel-like and other relationships, which related to the multiple panels in Greek and Russian icons, friezes, and early Italian narrative painting.Leib, Vered. "Joanna Pousette-Dart: Exploring the Possibilities of Dialogue," Arts, April 1988, p.74.Silverthorne, Jeanne.

It was designed by chief architect John Wade with the assistance of George Dietel. The friezes were sculpted by Albert Stewart and the sculpture executed by Rene Paul Chambellan. Note: This includes and Accompanying six photographs The foyer features a bronze tablet honoring Mayor Roesch, created in 1937 by regional sculptor, William Ehrich. Buffalo City Hall was listed on the National Register of Historic Places in 1999.

They are heading towards a seated man with a raised cup. Between him and the procession are a couple of animals and two other objects, and behind him is a tree. There are various speculations as to the meaning and cultural influences of the friezes. The Encyclopaedia Iranica considers the animals to be depicted in the Hittite tradition, and the tree to be the Tree of Life.

The entrance is divided into seven bays by engaged columns, with a pavilion on each end. Friezes above the two- story doric columns have medallions (paterae) that frame the brass lettered words "Buckstaff Baths" centered above the entrance. Brass handrails border the ramp that leads up to the brass-covered and glazed wood-frame entrance doors. First floor windows are arched; second story windows are rectangular.

He may have carved the marble portions of the twin flagpole bases.Supreme Court flagpole bases, from SIRIS. He did interior work on the building, including carving in marble sculptor Adolph A. Weinman's larger-than-life relief sculpture of Moses--one of eighteen figures in the Courtroom's Great Lawmakers of History Frieze.Courtroom Friezes: South and North Walls, (PDF) from Supreme Court of the United States.

The design included a veranda and a second-floor balcony on the front of the house, boxed cornices with brackets and friezes on the eaves and walls, and three gabled dormers; the interior of the house includes a fireplace with a $2,200 Yum Nan marble mantle. The Wong K. Gew Mansion was added to the National Register of Historic Places on September 20, 1978.

Entrance of Tripurantaka temple with erotic sculptures at the base The Tripurantaka Temple (also called Tripurantakesvara or Tripurantakeshwara) was built around c. 1070 CE by the Western Chalukyas. This temple, which is in a dilapidated state, is in the historically important town of Balligavi (also called Balagamve), modern Shivamogga district, Karnataka state, India. The exterior walls of the temple have erotic sculptures on friezes.

At the northern end of the street the buildings are continuous with those in Stall Street. The 2 story buildings have Mansard roofs. Windows are pedimented and have decorative friezes. The south side is formed by numbers 1 to 8, while the north side is numbers 9 to 16, which formed part of the Royal Baths Treatment Centre, and are continuous with the buildings in Stall Street.

The stadium's -long facades are made of brick and Texas Sunset Red granite. Bas-relief friezes depict significant scenes from the history of both Texas and baseball. The calculus of seating arrangements represented a new economic model for the sport: a critical mass of high-dollar seats close to the infield boost ticket revenue. The stadium has three basic seating tiers: lower, club and upper deck.

The windows are flanked and topped by semi-circular niches, each with an arch over Tuscan pilasters with triangular gables. To the left of the entrance is a rectangular bell-tower, topped by conical spire, with facets marked by pillar wedges and topped by three-stage pinnacles defined by friezes and cornices. The four-bell belfrey is composed of Roman arches presented in salient limestone.

It was probably a gift to the church from Henry of Blois, Bishop of Winchester. The Romanesque friezes on its sides, carved by Flemish masters, depict the creation of Adam and Eve and the Temptation (N face); the Expulsion from the Garden of Eden and Adam being shown how to dig (E); and various animals, birds and dragons on the S and W faces.

Some traces remain of the presence of the Kushans in the areas of Bactria and Sogdiana. Archaeological structures are known in Takht-I-Sangin, Surkh Kotal (a monumental temple), and in the palace of Khalchayan. Various sculptures and friezes are known, representing horse-riding archers, and, significantly, men with artificially deformed skulls, such as the Kushan prince of Khalchayan (a practice well attested in nomadic Central Asia).

The Artistic Building, on Metropolitan Avenue between 79th and 80th Streets, is a 1930 structure that is notable for having friezes of biblical scenes on its facade. , it was a tailor's shop. There are also some very old houses in Middle Village. The Morrell House, built by English settler Thomas Morrell, was built in 1719 on present-day Juniper Valley Road; the house was demolished in 1985.

Among the sculptures at Pattadakal is one of a long neck lute (Sitar-like) dated to the 10th-century. The site also shows friezes with more conventional musical instruments, but the long neck lute suggests there was a tradition of musicians innovating with new instrument designs. Another example are the 7th- century stick zithers found carved in the bas-relief at Mahabalipuram in Tamil Nadu.

The most important and well studied in this area is the site of Huaca de los Reyes, showing a very complex structure with a "U-shaped" layout. It also includes overlapping platforms featuring access stairs, with plazas and hypostyle halls. The site includes friezes, as well as the giant heads constructed of clay representing characters with feline features, similar to Chavin style, yet preceding the Chavin chronologically.

Walls, friezes and tombs are decorated with mosaic fretwork. In some cases, such as in lintels, these stone “tiles” are embedded directly into the stone beam. The elaborate mosaics are considered to be a type of “Baroque” design, as the designs are elaborate and intricate, and in some cases cover entire walls. None of the fretwork designs is repeated exactly anywhere in the complex.

The use of stone carvings for storytelling is prevalent throughout the temple. The legends of Hindu epics and the Puranas are depicted on the temple pillars in the community hall. These stories span all major traditions within Hinduism, including Shaivism, Vaishnavism and Shaktism. The rasa lila of Krishna, whose stories are found in the Bhagavata Purana, are shown on friezes as are Hindu fables from the Panchatantra.

He painted duelling warriors, horsemen, symposiasts, and komasts. He followed the Corinthian habit of adding white paint for details, but used the Attic technique of doing so: the white paint was added onto the black slip, rather than directly to the base clay. His mythological images represent a departure from Corinthian precedents. He painted them in elongated friezes, resembling the work of the Gorgon Painter or Kleitias.

Its foundation is not mentioned by any ancient writer. Laodicea is at Ladik, and numerous fragments of ancient architecture and sculpture have been found. Visitors in the 19th century described seeing inscribed marbles, altars, columns, capitals, friezes, and cornices dispersed throughout the streets and among the houses and burying grounds. From this it would appear that Laodicea must once have been a very considerable town.

On the south and west facades are oriel windows supported by brackets. There are some decorative half-timbered friezes. The sections have variously peaked or hipped shingled roofs, pierced by occasional hip-roofed dormers and four tall stone chimneys. At the southwest corner is a three-story octagonal tower with a conical roof and stone buttresses, complemented by two peaked-roof towers on the eastern (rear) elevation.

You can see the initial small window panes. One of the gratings protecting the balconies was preserved during the reconstruction. There is also a historical interior decoration. It is abundantly used the motif of pine branches: stucco friezes in the form of garlands of branches, bunches of branches with cones on consoles supporting the ladder, cones and bundles of needles in the decoration of the staircase.

The Merrylees-Post House is a two-story, hip-and-gable-roof house. It is one of the most notable Queen Anne style houses in Mason, with decorative features including scalloped-edge bargeboards, applied latticework in the main and porch gables; paneled friezes, and bracketry under the eaves of the porch. It has a front porch wrapping part of the way around two sides of the house.

Internally the timber hammerbeam roof is carried on terracotta corbels. There is much decoration, with friezes, ball-flowers, foliage, inscriptions, panels, and blind arcades, all in terracotta. Behind the altar, forming a reredos, are niches, and panelling incorporating the words of the Ten Commandments, the Creed, and the Lord's Prayer. Terracotta also forms the pew ends, which are decorated with poppy heads, and the organ case.

The cast iron verandah friezes feature a design of grape vine and leaf with pendant fruit painted and highlighted. The villa has two wings to the rear which form a U-shaped courtyard. Internally, there are two staircases in addition to the servants' stairs, attic stairs and cellar stairs. The main staircase rises from the entrance hall and has finely turned cedar balusters and decorative newel posts.

Some scholarsSee additionally: Bivar, A. D. H. "Review of Aght'amar: Church of the Holy Cross". Bulletin of the School of Oriental and African Studies. Vol. 30, No. 2, 1967, pp. 409-410. assert that the friezes parallel contemporary motifs found in Umayyad art - such as a turbaned prince, Arab styles of dress, wine imagery; allusions to royal Sassanian imagery are also present (Griffins, for example).

The house includes a staircase connecting five of the floors, as well as "gold-leaf trimmed fixtures and intricate friezes". The roof has red tiling with cooper and features two towers. The mansion has a private staircase on the top floor that leads to a rooftop balcony. The builders put closets in the same location on every floor to facilitate the possible future installation of an elevator.

The house is completed in the Victorian Filigree style. Boronia is a two storeyed brick house with walls stuccoed and lined externally to simulate ashlar. Its main roof is hipped and slated and the verandah roof is corrugated metal painted in wide stripes. The double storey verandah is an ensemble of cast iron columns, friezes, brackets and balustrades, emphasised at the centre by a gable.

Heracles fighting with the Cretan bull, roofing tile from Quadraro, found 1812 and now in the Vatican Museum Campana reliefs (also Campana tiles) are Ancient Roman terracotta reliefs made from the middle of the first century BC until the first half of the second century AD. They are named after the Italian collector Giampietro Campana, who first published these reliefs (1842). The reliefs were used as friezes at the top of a wall below the roof, and in other exterior locations, such as ridge tiles and antefixes, but also as decoration of interiors, typically with a number of sections forming a horizontal frieze. They were produced in unknown quantities of copies from moulds and served as decoration for temples as well as public and private buildings, as cheaper imitations of carved stone friezes. They originated in the terracotta tiled roofs of the Etruscan temples.

303 cartridges plus gun mountings, parts for aeroplane engines, fuze body stampings and submarine mines, 23,400 tons of metal. After WWI, with a reduced staff, orders for metal stampings, wrought iron work, war memorials, ecclesiastical metalwork and statuary resumed. All kinds of bronze work were in demand from home and abroad: statues, wreathes, emblems, friezes, tablets, as well as entrance doors and revolving doors for the Hong Kong & Shanghai Bank in Shanghai, lift enclosures for flats in Brook Street, London, lighting standards for Reading Bridge and the gates for Africa House in Kingsway, London.Frome Museum, document D1348, reprint from The Architectural Review Two of the largest commissions were Fehr's 1924 Shanghai Allied War Memorial (the Angel and all of the other bronzes were removed by the Japanese in 1943) and friezes for the Scottish National War Memorial (1927) at Edinburgh Castle by Alice Meredith Williams.

Internally the house is substantially intact, although friezes and a dado decoration in the hallway have been painted over. Cedar has been used for the hallway flooring, and much of the joinery, including the fixed seating in the bay windows and some of the mantelpieces. The remainder of the internal flooring is of pine. There are pressed metal ceilings and some cast iron mantelpieces - part of the 1880s renovations.

The main body displays large windows that end in semi-circular arches with a keystone, and outlined with a frame that runs the entire length of the facade. Between the windows there are large pilasters that span the entire facade, from the bottom of the base to the top of the entablature. The upper entablature has two independent friezes. The lower is decorated with blind arcades, marked by frames.

The temple opens into the front hall which also forms the entrance to the Kattale basadi. In this hall stands a figure of Kshetrapala opposite to the middle cell of the Chandragupta basadi. The outer walls are decorated with pilasters, friezes, niches, the heads and trunks of lions mostly in pairs facing each other. Tradition says that this temple was caused to be erected by the Maurya emperor Chandragupta.

In 1658, Cardinal Giovanni Battista Pallotta promoted restoration of the entire complex: church and monastery. The well- preserved Romanesque-style crypt retains some of the few original elements. The 17th-century Baroque brick facade has a curved pediment roofline, and the facade has eliminated a prior rose window, replaced with four awkward rectangular windows. The original round arch terracotta portal had some spolia fragments of marble friezes and volutes.

Foreigners on the Northern Gateway of Stupa I. Some of the friezes of Sanchi also show devotees in Greek attire. The men are depicted with short curly hair, often held together with a headband of the type commonly seen on ancient Greek coinage. The clothing too is Greek, complete with tunics, capes and sandals. The musical instruments are also quite characteristic, such as the double flute called aulos.

4–5; . The façade and the interior followed the Napoleon III style principle of leaving no space without decoration. Garnier used polychromy, or a variety of colors, for theatrical effect, achieved different varieties of marble and stone, porphyry, and gilded bronze. The façade of the Opera used seventeen different kinds of material, arranged in very elaborate multicolored marble friezes, columns, and lavish statuary, many of which portray deities of Greek mythology.

Friezes on the Aston Webb building The university has been involved in many scientific breakthroughs and inventions. From 1925 until 1948, Sir Norman Haworth was Professor and Director of the Department of Chemistry. He was appointed Dean of the Faculty of Science and acted as Vice- Principal from 1947 until 1948. His research focused predominantly on carbohydrate chemistry in which he confirmed a number of structures of optically active sugars.

Another nearly-identical but smaller vestibule on the southern end, near 45th Street, leads to the western walkway. The lobby itself contains bronze chandeliers and an elaborate cornice with brackets and friezes. There are thirty-two elevators, grouped in eight banks of four, labeled "A" through "H". The elevator banks are double-height arched vestibules, with marble frames around the elevator openings, as well as bronze-ornamented elevator indicators.

"Royal Doulton Dinner Service (1930s)", William Morris Gallery The headquarters building and factory of Royal Doulton were in Lambeth, on the south bank of the Thames. This Art Deco building was designed by T.P.Bennett. In 1939 Gilbert Bayes created the friezes that showed the history of pottery through the ages. In 1969 Doulton bought Beswick Pottery, long a specialist in figurines, mostly of animals, including some Beatrix Potter characters.

The factory building was demolished in 1978 and the friezes transferred to the Victoria & Albert Museum. The office building in Black Prince Road survives, complete with a frieze of potters and Sir Henry Doulton over the original main entrance, executed by Tinworth.TQ3078 : Doulton building at Black Prince Road near Lambeth High Street The Nile Street factory in Burslem also closed on 30 September 2005, and has been demolished.

The lion motif is absent in the pillars though it reappeared in friezes where ever suited. The pillars in the interior are typical of Chola art. The usual deities are enshrined in the central niches outside the wall of the sanctum. The toranas over the south and west niches are of good workmanship, especially that on the west, which is perhaps the finest in South IndiaTemples of South India P.113.

It was designed by Wimperis, Simpson and Guthrie; interior partly by Serge Chermayeff, with interior bronze friezes by sculptor Anthony Gibbons Grinling.English Heritage listing details. Retrieved 28 April 2007 The theatre is built in steel and concrete and is notable for its elegant and clean lines of design. The theatre was refurbished in 1950—the original gold and silver décor was painted over in red, and candelabras and chandeliers were added.

External walls were sometimes decorated with friezes and low relief of the dead's face. According to south Arabian inscriptions the cemetery was known as "Mhrm Gnztn" (cemetery sacred enclave). Despite the sacredness of the cemetery, no surplus of epigraphic remains for the ritual ceremonies were found in the complex. Apparently the rituals were conducted in the Oval Sanctuary Precinct, then they enter the cemetery where further ceremonies took place before burial.

Some of the decorative work included friezes of dragon heads and pelicans. This chapel was formally called the “Chapel of the Indians” and believed to have been built before the main church. Today it lies in ruins and has not been restored. Monastery of Santiago Apóstol in Cuilapan de Guerrero, Oaxaca, Mexico The capilla abierta of Teposcolula is a variant of the portico type but slightly more complicated.

Broad dormers with round-arch windows are set in the roofs. A central square-plan, pyramid-roof tower tops the entire depot. Exterior details include accent bands of darker-color brick at window-sill and -lintel level and above doorways, brick panel friezes with terra cotta work, and sawtooth brickwork panels above some windows. A single-story shed-roof canopy supported by large iron brackets surrounds the building.

Modeled four-fifths lifesize and cast in concrete, the bas-relief friezes depict God's dealings with Man. The north frieze depicts the story of the Book of Mormon. The west frieze shows the people of the Old Testament. The New Testament and the Apostasy are depicted on the southern frieze of the temple, and the restoration of the Church through Joseph Smith is shown on the east frieze.

The walls are almost completely covered with three rows of valuable paintings laid out in superimposed friezes up to the vaulted ceiling. The lowest row of twenty paintings, considered to be the most important, recounts incidents and miracles in the life of St. Francis Xavier, especially his travels to the Far East. They were executed by the 17th-century Portuguese Mannerist painter André Reinoso (ca. 1590-after 1641) and his collaborators.

The room which houses the gate, which is on the left The gate is a large marble monument, about 30 meters wide, 16 meters tall, and 5 meters deep. The two-story structure has three doorways and a number of projections and niches. At roof level and in between the floors are ornate friezes with bull and flower reliefs. The structure's protruding pediments are supported by Corinthian and composite columns.

The brick chancel and the nave both have round arch friezes below the cornice. The south door, partly bricked up, is still in use but the north door, whose remnants were uncovered in 1984, is completely closed. The nave was extended at the end of the 15th century when cross- vaulting replaced the flat ceiling. The remains of the priest's door can be seen on the south wall of the chancel.

Compton Bishop Church The Church of England parish church of St Andrew dates from the 13th century, being consecrated by Bishop Jocelin in 1236, with more recent restoration. It has a 15th-century pulpit with tracery panels, carved friezes and cresting. Above the pulpit is a large pedimented wall monument to John Prowse who died in 1688, as well as several of his children. It is a Grade I listed building.

In the 1960s, a group of wall paintings was found on Delos. It is evident that the fragments of friezes found were created by a community of painters who lived during the late Hellenistic period. The murals emphasized domestic decoration, conveying the belief these people held that the Delian establishment would remain stable and secure enough for this artwork to be enjoyed by homeowners for many years to come.

The style of Lydos strongly resembles that of older artists, such as the painters of Siana cups, of which he himself painted many. He was the last Attic painter to decorate large vases entirely with polychrome animal friezes in the Corinthian style. His human figures resemble the works of Klitias, and later painters, whose humans appear “wrapped” in cloth. Sometimes they have dotted garments, such as preferred by the Amasis Painter.

The details of the friezes indicate that the craftsmen were Greek, not Lycian. The stylistic features that distinguish Greek craftsmanship are revealed through the depictions of the human form on the West side of the chest. A lion is held by a man, whose body simply delineated: nude and with few defining curves. His archaic smile and hair falling in locks also indicates a strong Archaic Greek style.

There is then a thin border with geometric patterns, outside which the sides have friezes of repeated camels and at least the bottom (which survives) an inscription in Kufic script. In all there are five zones of border between the elephants and the edge of the cloth.Jones & Michell, p. 74. The image in Jones appears to be a photo-reconstruction, as more is shown than in the Louvre's photograph.

This Attic black figure Dinos now located in Musée du Louvre in Paris was made by "The Louvre Painter" in 560 BC. It contains three friezes. The first depicts Troilos and Polyxena at the fountain, a Centauromachy, the return of Hephaistos, and a symposium. The middle frieze shows a hoplite phalanx, and the bottom frieze shows a horse race. The frieze with the hoplites shows two hoplite formations engaging in battle.

The interior of the house is noted for plasterwork friezes. In the hall the fireplace mantel, which dates from 1629, bears the Luttrell coat of arms with soldiers on either side. It was created by two Flemish workers brought in by George Luttrell. They and their descendants stayed in West Somerset and are responsible for the plasterwork in all the great houses in the area, including Court House and Dunster Castle.

There had to be a courtyard with the access from the street behind the tenement house. The sophisticated shapes, lace attics, friezes, decorative windows, sculptures and the variety of colours of the Renaissance tenement houses are the pride of the citizens of Zamość and they amuse the tourists from around the world. The most beautiful houses surround the Great Market Square. Each of its sides is composed of 8 buildings.

The frieze is to be found in the upper section of the rockshelter, about 3.5m long. The first frieze was discovered in the 19th century, the second frieze at the back of the shelter was found by Michel Castanet in 1923. The various excavations have also revealed 19 stone blocks which have been sculpted. Together the friezes show images of animals as well as having abstract markings such as cupules.

The below surface areas of the station are tiled in biscuit-coloured tiles lined with green friezes. The station tunnels—in common with those of Manor House and Turnpike Lane—are diameter and were designed for the greater volume of traffic expected. In contrast, the platform tunnels at both Bounds Green and Southgate have a diameter of only . The construction of "suicide pits" between the rails was a new innovation.

The roof-line is defined by a moulded cornice and parapet supported by triglyphs and modillions, and with friezes in panels above the pilasters. The right-side garden elevation is of similar style, and has a full-height canted bay window. The left-side elevation is more plain yellow-brick construction. The interior features a geometrical stone staircase with slender cast-iron balusters and decorated with moulded cornices and wall-niches.

The three sanctums are connected to a "staggered square" (indented) central hall (mahamantapa) by individual vestibules called sukanasi. A porch connects the central hall to the platform. The base of the temple wall (adhisthana) around the common hall and the two lateral shrines consist of mouldings, each of which is treated with friezes in relief that depict animals and episodes from the Hindu lore (purana). Historian Kamath calls this "horizontal treatment".

The lobby ceiling is made of barrel vaults painted in silver. The vaults rise in a lune shape, supported on slightly projecting stones along the length of the friezes atop each wall; the lunes touch at the apex of each vault. The vaults form triangular cut-outs above the frieze on either sidewall, each of which contain one of two mural designs with arrow motifs. Three chandeliers hang from the ceiling.

Kinwun Mingyi Monastery (), also known as the Thakawun Monastery, is a historic Buddhist monastery in Maha Aungmye Township, Mandalay, Burma. The wooden monastery dates to 1879, built by the Kinwun Mingyi U Kaung. Built completely out of teak, the monastery includes Western motifs including Corinthian pillars, friezes and arches inspired by the Kinwun Mingyi's embassy mission to Europe. The monastery design features a terrace surrounded by a rotunda.

The house was built in 1894 by area resident William J. Oliphant (1845–1930), an accomplished photographer. It is a prime example of Queen Anne style architecture, with an elaborate balustrade, front gable, and friezes. The house was sold to Anna Walker, president of the Texas Woman Suffrage Association, in 1916. The house is located at 3900 Avenue C. It was added to the National Register of Historic Places in 1990.

It is supported on metal tie rods and has pressed decoration including a coffered ceiling, rosettes and acanthus leaf friezes. In the centre of the Edward Street facade on the street level is a shopping arcade which is also an entrance to the building. The arcade has mosaic tiled floor with patterned border, a coffered plaster ceiling and timber and glass shop fronts. Two more entrances are located on this elevation.

The plinth is square with a side, about above the bottom step (called the moon stone) of the shrine. Each corner of the platform has a square projection with remnants of a shrine. The plinth was molded in four parallel courses, each molding about thick. Above the four moldings, rectangular panels separated by pilasters ran all along the plinth with friezes narrating Hindu texts such as the Ramayana and the Mahabharata.

Tushinskaya () is a station on the Tagansko-Krasnopresnenskaya Line of the Moscow Metro. It was designed by I.G. Petukhova and V.P. Kachurinets and opened on 30 December 1975. The station was built to a modified standard design, with grey-blue marble pillars and white marble walls with inlaid zigzag friezes. Tushinskaya is one of the Metro's busiest stations, serving about 111,000 passengers per day according to a 1999 study.

Their legs are slim, strong and wiry, with strong joints. The tail is low set. The Skyros breed is believed to be descended from horses brought to the island of Skyros during the 5th to 8th centuries BCE by Athenian colonists. It is possible that they were used by Alexander the Great in his conquests, and also possible that they are the horses depicted in the friezes of the Parthenon.

The Turkish Windows,(1934), and Love Among the Nations,(1935), were designed as long friezes for the nave of the Church-House. Numerous other paintings were intended for the Church-House. These included the two paintings Spencer submitted for the 1935 Royal Academy Summer Exhibition, Saint Francis and the Birds and The Dustman or The Lovers. The Royal Academy rejected both pictures, and Spencer resigned from the Academy in protest.

Imperial Spoils: The Curious Case of the Elgin Marbles is a 1987 book by Christopher Hitchens on the controversy surrounding the removal by Thomas Bruce (seventh earl of Elgin) of the Parthenon's sculptured friezes (which became known as the Elgin Marbles), and his subsequent sale of the Marbles to the British Museum. Hitchens examines the history of the artifacts and the question of whether they should be returned to Greece.

The Steele design for the Shibe façade was in the ornate French Renaissance style, including arches, vaultings, and Ionic pilasters. The grandstand walls were to be of red brick and terra cotta and featured elaborate decorative friezes with baseball motifs, while cartouches framed the Athletics' "A" logo at regular intervals above the entrances. The souvenir program on Opening Day called it "a fetching combination of color."Kuklick, p.

The project design following 17th century Russian church architecture with arks, friezes, pediments, and gold-plated ornaments, was the work of the Czech architect A.I. Tomisko. The main entrance has three arks, topped off with the distinctive high spire of the bell tower. There are 17 bells; the heaviest of them weighs about . The lime-tree iconostasis is richly decorated with gilded wood-carvings and is of great artistic value.

Hall of ceramics from the 16th, 17th and 18th century (second floor) Divided in several rooms, this whole floor is entirely dedicated to the exhibition of the ceramics collection, including one adapted to reproduce a typical Valencian kitchen, designed by self-Manuel González Martí, with mosaics, friezes and decorative panels of the 18th and 19th centuries. The decoration of this space is complemented with popular contemporary ceramic pots and copper objects.

Large flower symbols are set into the sloping talud panels, related to the Venus and star symbols used at Teotihuacan. The roof of the structure was decorated with friezes although only fragments now remain, showing a monstrous face, perhaps that of a jaguar, with another head emerging from the mouth. The second head possesses a bifurcated tongue but is probably not that of a snake.Schele & Mathews 1999, pp.72-3.

The monument was assembled over several months and installed on the Tsaritsyn Meadow in early 1799. As completed the monument stands high, with the obelisk and base made of , and the pedestal constructed from pink and gray marble. The friezes and bas-reliefs are of white Italian marble, displaying military trophies and garlands of dark bronze. The obelisk is topped with a gilded ball surmounted by an eagle spreading its wings.

Given the difference in style, subject and material, it is thought that the two friezes are not contemporary. The mythological frieze seems to have been executed earlier, covering the three visible sides of the base, which would originally have been connected to the back wall of the cella. Some years later, the base would have been shifted away from the wall, freeing the fourth side for the panel depicting the census.

The Grade II listed gates On the driveway to the north of the hall is a pair of stone gate piers dated 1733. They have a cruciform plan, on each face are fluted pilasters, and on the south faces are niches and date panels. At the tops of the piers are entablatures with pulvinated friezes that are surmounted by finials in the form of lions' heads (the Whitmore crest).

The low relief sculptured friezes of horses located on the exterior of the building are also indicative of the Art Deco style of design. Horse Palace exercise ring The two-storey building is mostly clad in yellow brick except for entrances and details which are of carved limestone. The roof is a flat roof. The east side faces a covered laneway between the Horse Palace and the Coliseum and is plain.

The former Morrill Store building is located in the center of Gilford village, at the northwest corner of Belknap Mountain Road and Potter Hill Road. It is a 2-1/2 story wood frame clapboarded structure with a gable roof. It is predominantly Greek Revival in style, with pilastered corner boards, and with entablatures and friezes above. A shed-roof porch extends across the main facade, supported by simple brackets.

The sanctuary, while richly decorated at one point is "currently in bad shape". The qibla wall is decorated with the remains of gilded stucco and epigraphic bands, with trees at their center. These trees are one of the only extant naturalistic features in Mamluk architectural decoration. The mihrab is made of polychrome marble and has friezes of small niches with blue-glass colonettes on the side framing its upper edge.

Ganelon Silvermane offers himself as hostage to the barbarian Ximchak Horde, the worst band of barbarians to roam the plains. From a captive of the Horde, he rises to heights of heroism greater than ever before, becoming its leader and beginning to assume the full power of his mighty being. He takes his followers beyond the glass-walled Triple City to the Marvellous Mountains carved into gigantic friezes.

Bethune-Powell Buildings are two historic commercial buildings located at Clinton, Sampson County, North Carolina. They were built in 1902, and are two- story, brick buildings with decorative pressed metal sheathing and brick cornices on the front facade. The Bethune Building is six bays wide and the Powell Building three bays wide. The pressed metal sheathing features a robust pattern of colonnaded, arched garland friezes, and modillion cornice.

A large Bodhi tree is carved at his back. The hall has a vaulted roof in which ribs (known as triforium) have been carved in the rock imitating the wooden ones. The friezes above the pillars are Naga queens, and the extensive relief artwork shows characters such as entertainers, dancers and musicians. The front of the prayer hall is a rock-cut court entered via a flight of steps.

The use of bracket figures depicting dancing girls became common on pillars under beams and cornices. Among animal sculptures, the elephant appears more often than the horse: its broad volumes offered fields for ornamentation. Erotic sculptures are rarely seen in Chalukyan temples; the Tripurantakesvara Temple at Balligavi is an exception. Here, erotic sculpture is limited to a narrow band of friezes that run around the exterior of the temple.

Orchards has several heritage sites. The Kraal is a house in Pine Street, now a museum and guest house, built in 1907 by Hermann Kallenbach and has two rondavels attached to it. It was inhabited by Kallenbach's friend Mohandas Gandhi who lived there between 1908-1909. Other heritage buildings include the Pine Street Shul built in 1959 with stone friezes that depict the 12 Israeli tribes and designed by Eduardo Villa.

The movements of dance and expression in the Natyashastra are found carved on the pillars, walls and gateways of 1st- millennium Hindu temples. The specifications provided in the Natyashastra can be found in the depiction of arts in sculpture, in icons and friezes across India. The Rasa theory of Natyashastra has attracted scholarly interest in communication studies for its insights into developing texts and performances outside the Indian culture.

Ainsworth studied at the Royal College of Art in the late 1920s and exhibited at the Royal Academy and the New English Art Club. In 1929 Ainsworth painted friezes at the Imperial Institute building in London. Ainsworth designed posters for the General Post Office, Shell and the Empire Marketing Board but was increasing drawn to journalism. He produced illustrated articles for the magazines Leader and Liliput before joining Picture Post.

Initially used on small temples, they are later found on a wide range of public and private buildings. Usually between 22 and 50 cm high and 27 to 48 cm wide, plaques were perhaps typically arranged in bands or friezes. Subjects are usually drawn from mythology. They cease to be found after the middle of the 2nd century; they had to compete with moulded stucco as well as wall-paintings.

The main hall was designed with Italian limestone claddings with ornate plaster ceilings and cornices. Floor-length windows, cornices, panels, friezes, and details reflecting a range of styles are found throughout the interior. Rooms drew from various period styles including Georgian, Adamesque, Jacobean, and even Arts and Crafts. The house was fully electrified, and had a central vacuum system, recirculating hot water, and a ten port shower in the master bathroom.

Manual typographical Amoretti Brothers, 1811 After the death of Don Andrea in 1807, the direction of the workshop was taken over by Francesco Amoretti; the selling business for types and typography tools ( presses, forms, moulds, barrettes, composers, etc. ) thrived, as evidenced by reports of French imperial officials, that were sent to the Paris Government, about the production activities of the Department of the Taro which was a newly formed administrative area, under the Napoleonic regime. The Saggio de' caratteri e fregi della fonderia dei fratelli Amoretti incisori e fonditori in San Pancrazio presso Parma, ( in English: Sampler of the typefaces, friezes and decorations, from the foundry of the Amoretty brothers, typecutters and founders, in San Pancrazio by Parma ) containing more than 1300 different decorations and characters, was published in 1811. It was followed, after a few years, by the additional Saggio de' fregi della fonderia de' fratelli Amoretti ( Sampler of friezes [ produced by ] the brothers Amoretti foundry ).

The sculptural friezes that run around the building depict various scenes from Greek Mythology. The names of the acting persons were inscribed on the background, most of them are still visible in raking light. The Eastern side depicts an assembly of the 12 Olympian gods seated. In the lost centre of the assembly Hermes holding the scales filled with the souls of Achilles an Memnon was depicted (weighing of souls/so-called psychostasia).

Bélanger has exhibited her multimedia installations across Canada, USA, France, Germany, Spain, England, the Netherlands, Japan, Thailand, Philippines and China. In 2002 Bélanger was commissioned to create public art for the Bessarion subway station in Toronto. The work is a series of friezes of hands, feet and backs of heads, which represent the users of the station. The feet images appear on the concourse level while the heads appear on the platform level.

Since 1925 the Catholic Retreat Hostel for spiritual exercises has been housed in Fürstenried Palace. Only the surrounding wall friezes of the Blue Cabinet on the second floor of the main building have been preserved from the interiors. During the Second World the palace again served as military hospital. War From 1946 to 1949 the castle was used as accommodation of the Theological Faculty of the Ludwig Maximilian University and the Georgianum.

The music room with its square piano from around 1830 is notable for its painted friezes and a medallion painted above the fireplace. In one corner stands a stinkwood Cape gabled corner cupboard with silver escutcheon plates. Japanese Imari porcelain garniture is set on top of the cornice. Important ceramics in this room include a covered baluster jar which dates from the 17th century, which is one of the earliest pieces in the house.

The station was built by the Nord company in 1908 as part of the opening of the Les Grésillons line (also known as the Docks line). It was designed by Clément Ligny in a regional style which combines decorative elements such as Montmorency marl, glazed brick, cut stone, ceramic friezes, and wrought iron."La Gare d'Épinay-sur-Seine: Un Joyau de l'architecture ferroviaire", Épinay en scène June 2010, pp. 32-33 (pdf) .

The Grande Ballroom is a square, two-story, yellow-buff brick commercial building, containing elements of Spanish Revival and Mediterranean Revival architectural styled. The first floor contains retail spaces, and the second contains a large ballroom. The exterior has round-arch window openings with limestone friezes on the second floor, with low tiled pent roofs above. The first floor originally held six storefronts, each with large plate glass windows and prismatic glass transoms above.

Novotny 1978, p. In 1869, he visited France, the Netherlands and Spain with Fiedler. He served in military in the Franco- Prussian War (1870–71) and then lived in Berlin and Dresden for a while. In 1873, he decorated the library walls of the newly built German Marine Zoological Institute in Naples, Italy The murals consist of five scenes depicting figures in landscapes, set into a framework of friezes and pilasters designed by Hildebrand.

This has led to more innovations being made in amate production. Some artisans have experimented with sizes, shapes, and elaborate designs, and there have been amate exhibits in the Smithsonian Institution and the London Museum of Archeology.López Binnqüist, p 111–112 One of these innovations is large, poster-sized cutouts, usually rich in decoration with figures such as suns, flowers and birds framed by friezes. In some, different types of bark are used.

Together with the third chapel on the right side, they were designed by Vignola but finished by Mascherino. The altarpiece in the third chapel (the Assumption of Mary) was painted by Scipione Pulzone [1598]. Federico Zuccari painted several presbytery decorations (with scenes from the live of St. Catherine) and a panel. Raffaellino da Reggio frescoed in the apse some monochrome friezes of putti and of the saints Romano, Agostino, Sisinio and Saturnino.

Polybius does not describe in detail the helmets of heavy infantry. However, the Ahenobarbus friezes and archaeological discoveries show that the "Montefortino" type was prevalent. This was made of bronze, and only protected the face with cheek-guards, so as not to obstruct soldiers' vision, hearing, breathing and shouting-range. According to Polybius, the foot-soldier adorned his helmet with three tall black or purple plumes to look taller and more awesome to the enemy.

The dome was surmounted by a statue of a woman holding a torch, representing female enlightenment. Painted pale yellow and white, the exterior presented a grand stair and ornamental friezes, cornices; and balustrades encircling the roof. Mounted statues on ornamental pedestals "symbolic of woman and her power" adorned the roof. Visitors to the Women's Building entered through a soaring central hall, flanked by a grand double stair, in a natural wood finish.

1885 and c. 1897. The fifth house, 42 Hyde, is a Shingle style house built in 1885. The Hyde Avenue area was originally part of a farm, which was subdivided and mostly sold off by George Hyde, a city assessor, selectman, and bank director. The house at 36 Hyde, while somewhat boxy, has a wealth of Queen Anne styling, including an asymmetrically sited entry, decorative wood shingling, and spindled friezes on its porch.

Eumenes II turned Pergamon into a centre of culture and science by establishing the library of Pergamum which was said to be second only to the library of Alexandria with 200,000 volumes according to Plutarch. It included a reading room and a collection of paintings. Eumenes II also constructed the Pergamum Altar with friezes depicting the Gigantomachy on the acropolis of the city. Pergamum was also a center of parchment (charta pergamena) production.

He shot three Zulu warriors, briefly forcing them to retreat, but they rushed at him and stabbed him off his horse. Dirkie Uys fell beside his father, where they were both stabbed to death. This version of events is depicted on one of the historical friezes of the Voortrekker Monument. South Africa has a deep and significant history, one that is complex and integral to the identity of the modern Rainbow Nation.

The 4th through 19th stories comprise the midsection of the building and are clad with russet colored brick. The 4th through 11th floors rise directly from the lot lines before setting back at various depths. The setbacks are decorated with limestone-trimmed friezes containing black ornament. Limestone windowsills were used on the facades facing the street, and precast concrete was used above setbacks at places where these windows could not be seen from street level.

Left of the entrance, on the northern wall, is a white ceramic glaze depicting the "Visitation", by Luca della Robbia. It is the oldest surviving example of the use of this technique in his workshop, aside from friezes or bas-reliefs. The work, originally featuring gilded decorations on the hair and the clothes, was commissioned in 1445 by the Fioravanti family of Pistoia. It was probably located then on the side opposite its present one.

This difference with the column capitals disappeared with Roman times, when anta or pilaster capitals have designs very similar to those of the column capitals.The Classical Language of Architecture by John Summerson, p.47 "Anta" entry The Ionic anta capitals as can be seen in the Ionic order temple of the Erechtheion (circa 410 BCE), are characteristically rectangular Ionic anta capitals, with extensive bands of floral patterns in prolongation of adjoining friezes.

Nile Mosaic of Palestrina, a Roman and Hellenistic floor mosaic depicting Ptolemaic Egypt, c. 100 BC Perhaps the most striking element of Hellenistic paintings and mosaics is the increased use of landscape. Landscapes in these works of art are representative of familiar naturalistic figures while also displaying mythological and sacro-idyllic elements. Landscape friezes and mosaics were commonly used to display scenes from Hellenistic poetry such as that by Herondas and Theocritos.

One of the older layers of the pyramid has been uncovered revealing several distinctive carved masks as part of the pyramid's decoration. The "Palace of the Stuccos" is 50 meters wide, 6 meters high, and contains many elaborate friezes. This building's design is very complex, with many rooms and detailed carvings. The architecture of the structures at Acanceh show a Teotihuacano influence, leading some to believe it was a "colony" of Teotihuacan.

The Reitz Home Museum is a Victorian house museum located in the Riverside Historic District in downtown Evansville, Indiana. The museum offers year- round guided tours. An authentic restoration offers visitors a step back in time with silk damask-covered walls, hand painted ceilings, delicately molded plaster friezes, and intricately patterned hand-laid wood parquet floors. Other features of the home include tiled and marbled fireplaces, stained glass windows, and French gilt chandeliers.

Hoffman became famous internationally for her sculptures of ballet dancers, such as Vaslav Nijinsky and Anna Pavlova, who often posed for her. In 1911, she made Russian Dancers, which was exhibited that year at the National Academy and the following year at the Paris Salon. She made a plaster bust, the last work she made of Pavlova, in 1923. Hoffman also created friezes and other works that captured the movements of dancers.

The building's corners are pilasters, and there are broad friezes under the eaves and raking edges of the gable. The interior of the building has a foyer area that opens into large hall, with a stage at the far end. A keystoned proscenium arch frames the stage, supported by engaged columns. The building in 2015 The hall was built in 1873, to serve as Sanford's second town hall and as a public meeting hall.

The church has buttresses, its brick facades are decorated with friezes and cornices, and it has semicircular window openings or Diocletian windows. At the base of the tower, the porch is richly decorated. Along the arms of the transept and the western side of the nave runs a large gallery. Inside the church, we can find cross-ribbed vaults, with the dome located at the intersection between the Nave and the transept.

The apse, chancel and nave of this red-brick church were built in the Romanesque period, while the tower with its pyramidal spire and the porch were added at the beginning of the 15th century in the Gothic style. The north wing was completed in 1656. The Romanesque sections are decorated with corner lesenes and are topped with saw-tooth friezes. The round-arched windows have either been enlarged or bricked in.

The Evans-Kirby House is a historic house at 611 South Pine Street in Harrison, Arkansas. It is a two-story wood frame structure on a sandstone foundation, with a busy roofline and asymmetrical massing typical of the Queen Anne style. The roof is punctuated with five dormers of different sizes and shapes, and the walls are finished with clapboards and decoratively-cut shingles. The porch is adorned with spindled friezes and brackets.

The lobby is a long, rectangular space extending west from the Lexington Avenue vestibule. The terrazzo floor contains elaborate geometric designs and marble highlights. The walls are made of convex pink marble panels with darker red veins, placed over a base made of white-veined black marble. The walls are topped by wave friezes and torch-shaped sconces, similar to those in the vestibule, although the lobby's western wall does not have a wave frieze.

The geometric Imigongo art originates from Rwanda in East Africa, and is associated with the centuries-old sacred status of the cow. It evolved from mixing cow dung with ash and clay and the use of natural dyes. The palette is limited to the bold colours of the earth. The art is traditionally associated with women artists, as is the elaborate art of basket weaving of the area, with its own regular friezes.

The Metropolitan Museum of Art, New York, Gift of Estate of Marshall O. Roberts, 1897 (97.10). On view in gallery 760. From the Met’s website: “Its motifs explicitly acknowledge the displacement of Indigenous Americans by Euro-American settlement in the West”. The iconography of Indian Vase consists of friezes of Native Americans from the period prior to the pacification of Native Americans and their assignments to reservations and dependency on the Federal government.

Rounding the facade is a robust frame with similar fenestrations, while the lateral facades maintain a relation between span symmetry, content and decoration. The vestibule is covered in azulejo tile, framed by pilasters. Near the ceiling is a blue and gold frieze decorated with stylized flowers, while below them is another polychromatic frieze depicting the history of transportation in Portugal. Below the friezes are large azulejo "paintings" representing historical events in Portuguese history.

The house is constructed in pebbledashed brick with stone dressings and slate roofs. The original block has two storeys and a front of three bays, with a single storey wing to the left. There is a central Tuscan porch and glazed doors. The windows have architraves; in the ground floor the windows, which include French windows, have friezes and cornices, and in the upper floor they are sash windows with glazing bars.

The red sandstone facade and panels with a variety of decorative designs, such as floral patterns, tell a lot about the former splendor of this tomb. There are chevron patterns in the nook shafts, wine- vases within sunk niches and geometrical floral designs gracing the piers between the arches. The chhatris have beautiful carved columns with hexagonal bases. The stone brackets occupy the spaces just below the chajja, while beautifully carved friezes are above it.

The transitional style (640-625 BC) linked the orientalizing (Proto-Corinthian) with the black-figure style. The old animal frieze style of the Proto-Corinthian period had run dry, as did the interest of vase painters in mythological scenes. During this period animal and hybrid creatures were dominant. The index form of the time was the spherical aryballos, which was produced in large numbers and decorated with animal friezes or scenes of daily life.

The House of the Câmara is integrated into the urban circus, erected over the Gate of the Vila near the town pillory. This building is two-storey rectangular plan decorated with cornices and barrels with tiled roof. The northern facade is marked by an arched wall door surmounted by two windows decorated and framed by stone friezes. The coat-of-arms of Penamacor, armillary spheres and Portuguese shield with the date "1568".

The vihara at Cave 11 has a rather unusual form, with a main chamber shaped somewhat like a chaitya, with a rectangular plan with a rounded apsidal far end, and a vaulted roof. This is now open to the outside, but presumably originally had a wooden screen. Around the chamber are nine doors to cells, each with a relief chaitya-arch surround. Friezes with railing patterns run round the room at two levels.

The outer walls, the inner walls, the pillars and the ceiling of the temple are intricately carved with theological iconography of Hinduism and display extensive friezes of Hindu texts such as the Ramayana (southern section), the Mahabharata (northern section) and the Bhagavata Purana (western section of the main temple). The Chennakesava temple, states George Michell, represents the climax of the development in Hoysala temple style and yet is also unique in many ways.

Above the 6th through 11th floors, there are terracotta courses with alternating classical motifs. The courses above the even-numbered floors contain floral forms, while those above the odd-numbered floors contain rinceau friezes. A loggia extends across the 12th story on Broadway, with Ionic-style capitals atop the loggia's square columns, as well as Doric-style antae. The 13th story contains balconies between the corner bays, facing both Murray Street and Broadway.

There is another basin also very close in form and decoration, but is unfinished probably because of a technical accident (a crack in the background) and is kept at the LA Mayer Memorial in Jerusalem, and was attributed to Muhammad ibn al-Zayn by Jonathan M. Bloom.Bloom 1987 The general style of the basin is a continuation of previous works. The friezes of animals is an element that predates Islam.Baer 1998, p. 36.

SilverCity theatres built by Famous Players have a rectangular design, with gigantic friezes above the main entrance that create excitement as moviegoers approach the theatre. Inside, the themed lobbies are bright and lively with colourful neon lights and designs, as well as movie memorabilia, characters and objects including King Kongs and fire-breathing dragons. Newer SilverCity theatres have a standardized Cineplex Odeon/Galaxy Cinemas design with a red and silver motif with a licensed lounge.

There are friezes directly above the sally port, as well as three tall, narrow arched windows on the floor directly above the sally port. Flanking either side of the sally port are two 3-story-tall architectural bays, with two columns of windows in each bay. The first-floor windows contain round arches while the second-and-third floor windows are rectangular. There are also rectangular, quarter-size window openings from the basement.

The building's southern and eastern corners are elaborately decorated with rendered mouldings that include ornate window hood-mouldings, sculptural friezes, partly balustraded parapets and unusual shaped pediments. Sandstone steps lead up to the ground floor level arcades on both street frontages. The arcades are formed by a set of segmental arches carried by rendered piers supported by pedestals. Above the arcades are open verandahs that have intricately designed cast iron balcony columns and railings.

He painted most of his vases with friezes of animals or horsemen. Of exceptional importance is a pyxis in the Staatliche Antikensammlungen at Munich known as the Dodwell Pyxis. On the lid, it depicts the hunt for the Calydonian Boar as well as several other figures from Greek mythology not related to that motif, including Agamemnon. The figures are named by added inscriptions, not all of which appear appropriate to the figures they accompany.

Sometimes the metopes and friezes were cut from different stone, so as to provide color contrast. Although they tend to be close to square in shape, some metopes are noticeably larger in height or in width. They may also vary in width within a single structure to allow for corner contraction, an adjustment of the column spacing and arrangement of the Doric frieze in a temple to make the design appear more harmonious.

A modern road passes in front of the eastern gopura, linking Kamalapuram to Hampi. The western gopuram has friezes of battle formation and soldiers. South of the Krishna temple's exterior are two adjacent shrines, one containing the largest monolithic Shiva Linga and the other with the largest monolithic Yoga-Narasimha avatar of Vishnu in Hampi. The Shiva Linga stands in water in a cubical chamber and has three eyes sketched on its top.

Despite the building's Neoclassical style, Art Deco light fixtures are employed at all levels. Seventeen- by seventeen- foot light courts illuminate the halls and service rooms of the upper floors and the former first floor library room. The basement contains beamed, coffered ceilings pronounced with dentils and a repeated vertical anthemion pattern. This level also is accented with intricate friezes, marble floors, and oak doors holding leaded oval glass and leaded clerestories.

The Lindley Clock Tower is the most prominent landmark in Lindley, Lindley Clock Tower standing at the junction between Lidget Street and Daisy Lea Lane. This Art Nouveau clock tower was designed by the Manchester architect Edgar Wood in 1900 and erected by James Nield Sykes JP, in 1902. The tower also features four buttress figures, four gargoyles and four friezes. The top of the tower is accessible via the doorway at its foot.

The building's corners have pilasters, which rise to an entablature that encircles the building. A two-stage tower rises above the front, with windows in the second stage and crenellations above. The tower features drip molding, pilasters and friezes similar to those found on the main body. Built in 1829 as the Epping Baptist Church, this was the first church building to be built within the municipal bounds of Columbia, which was incorporated in 1796.

This symmetrical three-storeyed building of the Federation period has deep shady verandahs on the upper two levels. These verandahs, which extend over the footpath, are decorated with cast-iron balustrades and friezes, together with timber fretwork. The ground floor shop front and interior have been modernised while the upper floors remain basically intact. The brick building, which is well designed for the tropics, is surmounted by a parapet and centrally placed pediment.

Dr. Christian Hockman House, also known as Chequers, is a historic home located near Edinburg, Shenandoah County, Virginia. It was built in 1868, and is a two-story three bay square, Italian Villa style brick dwelling. It features a prominent square central tower; wide, bracketed cornices, embellished with decorative scroll-sawn friezes; and an elaborately detailed front verandah. and Accompanying photo It was listed on the National Register of Historic Places in 1984.

Hopeleigh Maternity Home, 1915. Shortly after taking possession of the rather small Frankfort Villa, The Salvation Army proceeded to enlarge the house through the construction of the northern wing. This addition consisted of a verandah to the north and south walls and the rooms, seemingly used for residential accommodation for the staff, appear to have been accessed off the verandahs. A 1915 image shows cast iron columns, lace balustrades and friezes in the Victorian manner.

One of Copenhagen's old telephone kiosks of the original model which was designed by Fritz Koch and first installed in 1896. It is hexagonal with a copper roof over richly decorated wooden friezes. The square is dominated by the Modernist building Lagkagehuset ("The Layer Cake House"), which was built on the site of the former penitentiary between 1929 and 1932 to a design by Edvard Thomsen. Its name derives from the yellow and white striped facade.

They also contain early examples of friezes that narrate legends from Hindu texts such as the Panchatantra fables. The temples were a significant influence on the later era Kakatiya Hindu temples. The Alampur Navabrahma temples were partly damaged due to weather conditions but still remains intact. They were built by the Badami Chalukyas rulers, and early 8th- century inscriptions found at the site suggest that the site also had a Shaiva matha (Hindu monastery) which has not survived.

Located in the city of Oakland, California, at 4770 Lincoln Ave, it is the only LDS temple built with a modern five-spire design. The five exterior golden spires reflect the sun with the tallest spire reaching 170 feet. The exterior of the temple is reinforced concrete faced with sierra white granite from Raymond, California. On the north and south faces of the temple are two decorative friezes; it is the last LDS temple to have such.

Described as the best example of Art Deco in Las Vegas, the school was designed by father-and-son architects George A. Ferris & Son of Reno, Nevada. The stucco-covered reinforced concrete buildings are decorated with a variety of polychrome medallions and friezes depicting animals and plants. The two-story academic building, measuring , is part of a seven- building complex within the larger Las Vegas High School Neighborhood Historic District. The gymnasium is of complementary form and construction, measuring .

The ground floor originally contained six rooms; clockwise from the doorway they are the entrance hall, two drawing rooms, the staircase hall, the dining room, and a study or morning room. An extra room was added in the 19th century. The entrance hall is relatively plain, with a stone fireplace and pulvinated friezes over the doors. The study is panelled, and contains doorcases, a chimneypiece and an overmantel all of which are carved with flowers and fruit.

After a Master in Fine Arts in 1991 at the Universities of Neuchâtel and Lausanne, she devotes herself to photography. Gfeller travels to many different continents (Europe, South Africa, Asia, South America, North America) to create large landscape triptychs (“A Matter of Landscape”). In 1995, she receives a grant for a one-year residency in New York. There, she develops a printing technique which combines paper, monoprint and photography on the theme of urban landscape ("Urban Friezes").

The vessels are large, measuring about in height on average. They are composed of separately made segments of orange clay, typically assembled as a single piece, so that lids cannot be lifted. Conversely other pieces, especially of the lekanis shape, are made in several pieces, making them equally impractical for use. Ornamental motifs, dominated by acanthus garlands and architectural friezes, as well as heads and busts, are modelled in three dimensions, usually by moulding, and applied to the surfaces.

The lower levels were converted into individual shops on the ground floor and offices on the first floor. Other internal changes included the installation of false ceilings, the removal of the old internal staircases, and the closure of the passenger elevator. Externally, the ground street shop frontages were remodelled in an imitation Victorian period style. New windows and facades carried arched decorative panels, and the awning was fitted with non-structural, reproduction Classical columns and cast-metal friezes.

Caryatids, St Pancras New Church, London In 1809 Rossi worked with John Flaxman on two friezes for the facade of the Covent Garden Theatre. He carved one, of Ancient Drama, from a model by Flaxman. For the other, of Modern Drama, he worked from Flaxman's drawings, making a model himself, before carving it in stone. For the south wing of the theatre, he made a seven-foot high statue of Tragedy as a pendant to Flaxman's Comedy.

The west part of the chancel and the nave from the Romanesque period are built of hewn fieldstone with a few limestone trimmings. Rounded- arch friezes, sometimes with ornamental lilies, decorate the north and south walls of the nave, indicating an early design. The round-arched south door is still in use while the north door is bricked up. In addition to the Romanesque window in the chancel, there are traces of Romanesque windows in the nave's north wall.

Typical motifs are arcades, chequers (diapering), shields, heraldic devices, and letters or whole inscriptions. Many motifs are very similar to those achieved in carved or pierced stonework in other areas. As with carved stone decoration, it is most common to find friezes at the base or top of a wall, or a decorated parapet (again often a later addition) to the top of a tower. Few churches have flushwork all over the main body of the building.

The cave's rear wall has a square shrine which projects inside the rock, slightly above the floor. On each side of the sanctum the wall projects inward, creating two sunken niches. At the corners are pilasters with partially-formed dvarapalas, and the upper planks have ganas and friezes of hamsas. The northern panel of the cave's inner wall narrates the Varaha legend, where the man-boar avatar of Vishnu rescues Bhūmi from the waters of Patala.

The scenes on this pot include both crucial moments in stories, including when Peleus and Meleager are about to spear the Calydonian boar (top frieze). The moments where the crucial action is past with the dance of the Athenian maidens and youths freed from the Minotaur (top frieze) or the marriage of Peleus and Thetis. Also, as well as Achilles' pursuit of Troilos in the second frieze up. Past or future episodes are frequent in the friezes.

The second archeological gallery includes Buddhist sculptures, narrative friezes, decapitated images of Bodhisattva, and an inscription bearing Buddhist sculpture from Shravasti. It displays examples of Gandharan art, such as a frieze of Buddha giving a sermon, and the head of Buddha. The gallery also houses images of Hindu gods such as Lakshmi and Shiva. It houses art of the medieval period including Pala art, as well as the Gajalakshmi from Bhitri, Durga from Sultanpur, Avalokiteshvara seated on a lion.

It contains a reredos with carvings of personifications of virtues, framed by carved friezes, and posts surmounted by angels. There are stained glass windows by David Evans of Shrewsbury dating from the early 19th century, and by J. C. Bewsey dated 1932. There is a ring of six bells. Four of these, dated 1757, 1761 (2), and 1765 are by Rudhall of Gloucester and a bell dated 1826 is by Thomas Mears II of the Whitechapel Bell Foundry.

The historic and prominent tower with distinctive friezes carved "in-situ" by Frédéric Auguste Bartholdi (sculptor of the Statue of Liberty) representing four sacraments, with faces of famous Bostonians (including Longfellow and Hawthorne), Abraham Lincoln, and Bartholdi's friends of that era, (including Garibaldi). This building was Richardson's first church before he designed his masterpiece, Trinity Church. This church was added to the National Register of Historic Places in 1972. The congregation is affiliated with the American Baptist Churches USA.

By carving the chimney breast as a rule to the ceiling and covering the surrounding walls with more or less plain paneling, the designer, by thus concentrating the attention on one point, often produced results of a high order. Caryatid figures, pilasters and friezes were among the customary details employed to produce good effects. No finer example exists than that lately removed from the old palace at Bromley-by-Bow to the Victoria and Albert Museum. The mantelshelf is .

The Chennakesava Temple at Belur, originally called Vijayanarayana Temple, built on the banks of the Yagachi River in Belur, an early capital of the Hoysala Empire, is one of the finest examples of Hoysala architecture. It was built by king Vishnuvardhana in commemoration of his victory over the Cholas at Talakad in 1117. The facade of the temple is filled with intricate sculptures and friezes with no portion left blank. Inside the temple are a number of ornate pillars.

Likewise with Phrygians caps, but for Gauls, appear in 2nd-century friezes built into the 4th century Arch of Constantine. The Phrygian cap reappears in figures related to the first to fourth century religion Mithraism. This astrology-centric Roman mystery cult (cultus) projected itself with pseudo-Oriental trappings (known as perserie in scholarship) in order to distinguish itself from both traditional Roman religion and from the other mystery cults. In the artwork of the cult (e.g.

The great majority of them date from the thirteenth to the fifteenth century: a rarity among medieval gothic churches. In the Main Chapel, there is an altarpiece by Nicolás Francés (15th century) and a silver urn containing the relics of San Froilán, the town's patron saint, made by Enrique de Arfe. The 13th- to 15th-century cloister contains sculpted details in the capitals, friezes and ledges. The Cathedral Museum houses a large collection of sacred art.

A wraparound dentil cornice and a recessed peaked hipped roof creates the illusion of a flat roof, just like a palazzo. On either side of the main entrance, a blind arch with an ornamental keystone contains a set of three steel-framed doors, along with a large arched window. Decorative friezes separate the arched window from the doors. When these entryway elements are combined, they create a processional experience through the entryway into the grand interior space.

He also made a Ceres drinking in the Cottage of the old and a set of twelve plates of the Life of St. Bernard of Siena. He also etched a set of friezes and basso- relievi, among them, the Aldobrandini Marriage from an antique painting. Capitelli overcame his shortcomings as a draughtsman and achieved the unique position of virtually the only tenebrist etcher in Italy. The use of abrupt contrasts of light and dark is characteristic of Capitelli's work.

520 BC, from Vulci, now in the British Museum London The Antimenes Painter (530–500 BC) liked to decorate hydria with animal friezes in the predella, and otherwise especially neck amphoras. Two hydria attributed to him are decorated on the neck region using a white ground technique. He was the first to paint amphoras with a masklike face of Dionysus. The most famous of his over 200 surviving vases shows an olive harvest on the back side.

Oinochoe in wild goat style, with wild goats, Rhodes, An oinochoe of the Wild Goat Style. Camiros, Rhodes, (Louvre) The Wild Goat Style (variously capitalized and hyphenated) is a modern term describing vase painting produced in the east of Greece, namely the southern and eastern Ionian islands, between . Examples have been found notably at the sites in Chios, at Miletus and in Rhodes. The style owes its name to the predominant motif found on such vases: friezes of goats.

Conservation of invaluable heritage sites in the 400-year-old city of Dhaka has always been ignored, leading to destruction of the sites. Destruction of heritage sites and historical monuments started during Pakistan period on a moderate scale but it gained momentum after independence. Heritage properties suffered destruction in an appalling extent during military rule. According to conservationist architects, friezes and other ornamental features of the old buildings are replaced with dissimilar and odd-looking features.

His research led to an article, "The Facial Expression of Violent Effort, Breathlessness and Fatigue," published around 1900 in the Journal of Anatomy and Physiology in London. His first sculptural piece in the round was The Sprinter. The design of the piece involved measurements of limbs and torsos of many athletes, including McGill students. The Sprinter was second in a series of over 200 works that included athletic figures, military figures, busts, masks, friezes and medallions.

He liked using rare materials, with inlays of contrasting colors and gilded bronze friezes. His furniture became closer to the styles of Louis XVI or of the Empire than to contemporary Art Nouveau. After 1910 Follot's designs became quieter and more classical as his style evolved towards Art Deco. Follot's dining room ensemble in sycamore, ebony and amarath, exhibited at the Salon d'Automne in 1912, is considered to be one of the first examples of Art Deco.

Most ornamentation is made of brick, though the friezes, window frames, and doorways are made of bronze. On the Hudson Street side, the facade forms a two-story "screen", behind which rise the upper stories. The main entrance archway is in the center of this "screen", near the intersection with Jay Street. It consists of five bronze doors beneath a bronze lintel, as well as a glazed window above the doors, which is subdivided by diagonal muntins.

The hallways (which are protected under historic preservation laws) are designed with a rough plaster finish, pointed arches, and sculptural plaster pilasters and brackets. Sculptured plaster arches and panels and friezes in the public corridors resemble the signs of the zodiac. Today, the building offers 229 units in the form of studio and one, two and three bedroom luxury apartments between 486 and as rental properties. There are two indoor garages for the building's residents; attached and detached.

Along the mansard roof are 7 windows, covered in tile. The lateral left facade is divided into three pains with the left decorated with friezes and triangular frontispiece, crowned by plinth and marked with square frame. The central section has two windows, followed by two windows similar to the principal facade. In the lateral right section there are two windows on the ground, three windows on the second register and three simple, windows on the third.

Vaikuntam paints colorful and elaborately dressed Telangana region men and seductive women. His muse is the sensuous and voluptuous women of Telangana with their omnipresent vermilion bindis, draped in colourful sarees that highlight their dusky skin. The stylisation of a painting are a perfect foil to Indian classical dance as the figures seem to dance, as if following their creator in a statuesque movement, reminiscent of temple friezes. He uses the brightest of reds and yellows.

The siting of the house in riverside grounds is indicative of a new wealthy class of family in the district during the mid-nineteenth century. As an historic house in a garden setting, it has landmark status on both the highway and river. It has a hipped corrugated steel roof and verandahs to the southern and eastern elevations with cast iron columns, decorative lace friezes and balustrading. Fenestration consists of large sashed windows and french doors.

Aurel Stein hypothesized that the Buddhist temples of Qigexing were burned during an iconoclasm after Islam became the state religion of the Kara-Khanid Khanate. Archeological finds in Qigexing include the ruins of larger temple compounds (with more than 100 buildings in total) as well as twelve cave temples. The remains of some wall paintings and in particular sculptures have been discovered at the site. Sculptures have been found as individual figures as well as in friezes.

The upper floor is also lit by a pair of multi-paned windows with curved heads to the street and plain sash windows at the rear. The shop's front has a central recessed entry and display windows featuring lead lighting friezes and early signwriting. They are shaded by an awning to the street lined with decorative pressed metal. The interior is laid out with a shop at the front and offices and dispensary area to the rear.

The mansion's southern façade is notable for its decorative architecture, which includes at its centre a large oriel window above the principal entrance. Interior features include a great hall displaying 92 coats of arms on a Jacobean screen, an ornate drawing room, and a gallery. Numerous columns and friezes are found throughout the mansion, while several rooms have large tapestries depicting historical figures and events on their panelled walls. The house is set in of grounds containing an lake.

Portions of the panels and friezes are worn to the point that large areas are incomplete. The four end panels have scenes relating to the ritual of the ball game that result in entreaties to the gods. The central panels depict the gods responding or performing a ritual of their own. Variant forms of the god of pulque appear over each of the end panels, suggesting that the drink was an important part of the ritual.

According to Michell, the Galaganatha temple is notable for being almost an exact copy of the Svarga Brahma temple of Alampur in Andhra Pradesh, a temple that is dated to 689 CE. Given both Alampur and Pattadakal were a part of the Badami Chalukya kingdom, an exchange of ideas is likely. The basement of the eastern moulding is notable for depicting friezes of Panchatantra fables, such as that of the mischievous monkey and the fable of two-headed bird.

The Ptoon Painter was an ancient Greek vase painter of black-figure style active in Athens in the middle third of the 6th century BC. His real name is unknown. The Ptoon Painter predominantly painted ovoid neck amphorae, spherical '’hydriai’’ and Siana cups. His most distinguishing features are figural palmettes and striking black-and-red patterns on the wings of birds. Along with the Camtar Painter, he was one of the last painters to paint animal friezes.

Characteristic of his paintings are flat representations of humans or gods and animals painted in sections around the pottery. Rather than filling blank spaces with geometric patterns, the Gorgon Painter uses the Animal-Style; depicting real and fantastical animals in friezes around the vases which is considered to be a Corinthian tradition. The better recorded artist Sophilos is said to be influenced by the Gorgon Painter, continuing work in the black-figure style and animal-style.

Naralokaviran, the general of king Kulothunga Chola I was responsible for building the steps that lead to Sivaganga water pool, a goddess shrine, a shrine for child saint Thirugnana Sambanthar, temple gardens and a pilgrim road network in and around Chidambaram. He constructed a hall for recitation of Tevaram hymns and engraved the hymns in copper plates.Dehejia 1990, pp. 99-101 The thousand pillar choultry, with friezes narrating Hindu texts, was built in late 12th century.

Several works of art are located in the Central Park Zoo. There are several structures preserved from the original zoo built in 1934, which still feature their original animal-themed limestone friezes from Frederick Roth. Roth also created a pair of bronze statues, Dancing Goat and Dancing Bear, which flank the southern entrance of the zoo and were retained from the original zoo. Additionally, the zoo includes Tigress and Cubs, one of the park's oldest statues.

In 1991, the British Airports Authority commissioned a second, smaller stained glass project from Clarke for Stansted Airport in place of his and Sir Norman Foster's original 1988 proposal. The artist designed two friezes and a 6-metre high tower of stained glass for a circulation area in centre of the terminal which, in their composition, echoed elements of Foster's structure; by 1994 the tower had been removed to 'allow greater flow of traffic through the space', and later the friezes were likewise removed. In 1992, Clarke first collaborated with architect Will Alsop, on Le Grand Bleu, the Hôtel du département des Bouches-du-Rhône (the county government office of Bouches-du-Rhône) in Marseille. The building, now considered a major work of late 20th century architecture and a Marseille landmark, developed its visual identity through the design process, with Clarke and Alsop's final version externally clad in Yves Klein blue glass, with one elevation formed of a 1,200 m2 artwork by Clarke screenprinted in ceramic glaze, paralleling Edwardian faience, onto the facade.

The building is a modest rendering of the Late Victorian style, but was more distinguished than some other low and mid range accommodations in the area. The building is rectangular, approximately 60 feet by 113 feet, two stories high. Only the west facade adds flair to the structure, where six square two-story windows and three porches project out from the wall, each topped by a gable roof with fish scale shinglework. The porches feature spindlework friezes and turned posts.

It is believed to have its root in 14th century Majapahit court or probably earlier, which originated as ritual dance performed by virgins to worship Indic deities such as Shiva, Brahma, and Vishnu. In Bali, dances has become the integral part of Hindu Balinese rituals. Experts believed that balinese dance derived from older dance tradition of Java. Friezes on East Javanese temples built during the 14th century show headdresses almost identical to those still being used for dances in Bali today.

Gautama Buddha in Greco- Buddhist style, 1st–2nd centuries CE, Gandhara (modern eastern Afghanistan). Numerous Greek artifacts were found in the city of Sirkap, near Taxila in modern Pakistan and in Sagala, a city in modern Pakistan 10 km from the border with India. Sirkap was founded as a capital of the Indo-Greek Kingdom and was laid-out on the Greek Hippodamian city plan; Sagala was also an Indo-Greek capital. Individuals in Greek dress an be identified on numerous friezes.

Architrave fragment from the Bouleuterion of Nysa There are important ruins on the site from the Hellenistic, Roman, and Byzantine periods. The well-preserved theatre, built during the Roman Imperial period, is famous for its friezes depicting the life of Dionysus, god of the grape harvest, winemaking and wine. It has a capacity 12,000 people. The library dating from the 2nd century A.D. is considered to be Turkey's second-best preserved ancient library structure after the "Celsus Library" of Ephesus.

Detail: upper register, a winged Gorgon The ceramic ensemble is decorated in the black figure style, with ochre highlights and incisions outlining the images. The greater part of the decoration is made up of a palmette frieze with intertwined animals in the Corinthian tradition. The well-shaped stand is covered in friezes showing many different animals, like lions, cows, deer, along with fantastic creatures like sirens and sphinxes. The vase itself is decorated with three registers, one on top of the other.

The two neo-classical pavilions that make up the Barrière were built in 1787 by the architect Claude Nicolas Ledoux, both of which exist still. The buildings are decorated by friezes depicting dancers sculpted by Jean Guillaume Moitte. The tollhouses was designed for collecting the octroi, or taxes on goods entering the city. The main streets originating from the Barrière d'Enfer were the Boulevard d'Enfer (now a part of the Boulevard Raspail), the Rue d'Enfer, and the Boulevard Saint-Jacques.

Fragments of smaller-scale figures indicate there were other standing figures, likely a chantress and another woman. The south wall was less well preserved but likely featured a complimentary scene painted on a yellow ground; these figures are presumed to have been depicted standing. Few decorated fragments survived from the Outer Hall but its design appears to have featured garlands, friezes, and figures. Designs of grape trellises and bouquets feature in the Side Chapel, along with a scene of flying ducks.

Soon, Savva Mamontov was jailed for fraud and the project was taken over by Petersburg Insurance, omitting the original plans for opera hall. In 1901, the topped-out shell burnt down and had to be rebuilt from scratch in reinforced concrete. Kekushev and Walcot hired a constellation of first-rate artists, notably Mikhail Vrubel for the Princess of Dreams mosaic panel, Alexander Golovin for smaller ceramic panels and sculptor Nikolay Andreyev for plaster friezes. The hotel was completed in 1907.

The house is constructed of reinforced concrete, covered by stucco, and has a red tile roof. Among the features of the Maegly House that are often included in Prairie School-style dwellings are decorative corner brackets and ornamental friezes, above and below the second-floor windows. One narrow frieze positioned just below the eaves encircles the entire house except where interrupted at the corners by the decorative brackets. The interior is noteworthy for its use of high-quality Honduran mahogany.

A widely used application for fiber-reinforced concrete is structural laminate, obtained by adhering and consolidating thin layers of fibers and matrix into the desired thickness. The fiber orientation in each layer as well as the stacking sequence of various layers can be controlled to generate a wide range of physical and mechanical properties for the composite laminate. GFRC cast without steel framing is commonly used for purely decorative applications such as window trims, decorative columns, exterior friezes, or limestone-like wall panels.

Efforts are underway to preserve some of the oldest buildings some of which, such as the Samsarh and the Great Mosque of Sanaʽa,are more than 1,400 years old. Surrounded by ancient clay walls that stand high, the Old City contains more than 100 mosques, 12 hammams (baths) and 6,500 houses. Many of the houses resemble ancient skyscrapers, reaching several stories high and topped with flat roofs. They are decorated with elaborate friezes and intricately carved frames and stained-glass windows.

Frieze and detailing above the main windows with Claire Pettibone word-mark. The castle-like building was built in 1928 for noted muralist Anthony Heinsbergen (1894-1981), and designed by Curlett & Beelman in a Late Gothic Revival and Romanesque style. The building's notable features include the prominent cylindrical tower, a Renaissance-style mural in the tower arch, and the detailed friezes displaying artisans at work. At least 11 buildings designed by architect Claud Beelman have been listed on the National Register.

Joseph and Clementine Lambert had ten children, eight of whom survived into adulthood. Their two sons and six daughters included author Elizabeth Lambert Wood. Clementine died in the early 1890s, and Joseph Lambert died in Portland, Oregon, on November 12, 1909, at the age of 83. J. H. Lambert is one of the 158 names of people who are notable in the early history of Oregon painted in the friezes of the House and Senate chambers of the Oregon State Capitol.

At times, distinction between or ascription to the two areas is difficult, some material can also be confused with Corinthian vases. Often, Attic vases of low quality are mistaken as Boeotian. There was probably some level of exchange of personnel with Attica; in at least one case, Bird-Horse Painter, an Attic artist emigrated to Boeotia, the same also probably applies to the Tokra Painter and certainly to the potter Teisias the Athenian. Important motifs included animal friezes, symposia and komasts.

200 BC, most likely after it was encountered during the Roman conquest of Cisalpine Gaul in the period 220-180 BC. By c. 122 BC, the date of the Ahenobarbus monument, it appears from the friezes that mail was standard for all infantrymen. The next milestone in the development of the army was the Second Punic War. Hannibal's victories highlighted the deficiencies of the Roman army, which had evolved to fight wars against similarly equipped forces of competing Italian states.

In 1955, the restoration of the facade of the Palace was completed, and restoration of the interiors began. Fortunately for the restorers, the original plans by Cameron, Brenna, Voronykhin and Rossi still existed. Also, fragments of the original interior molding, cornices, friezes and the frames for the carvings, bas- reliefs, medallions and paintings still remained, and could be copied. In addition, there were 2500 photographic negatives taken in the early century by Benois, and another eleven thousand photographs taken just before the war.

After the 1706 earthquake, the church (Italian:chiesa di Santo Spirito a Morrone) was built anew an undulating facade with broken friezes, inspired by Francesco Borromini's church of San Carlo alle Quattro Fontane in Rome, was added to the church of Santo Spirito a Morrone. The local design is attributed to Donato Rocco. This facade has a clock (1730) added to the tympanum. The bell-tower was originally built in 1596 and based on that of the church dell'Annunziata in Sulmona.

He was still there in Malaga during the Spanish Civil War sketching for the Illustrated London News. He painted for Lady Churchill at Chartwell on many projects, doing murals and friezes that exist today.Frances Spaldinng, '20th Century Painters and Sculptors', Dictionary of British Art, vol.VI, (Antique Collectors Club, 1990) He served in the Second World War as a Corps Camouflage Officer, and after returning from Dunkirk, told his uncle personally of the need for small boats to assist in rescuing the troops there.

The curved balcony is partly supported on slender cast-iron columns and decorated with military motifs in plaster-work. The foyer opens onto a Sicilian marble balustraded staircase leading to a large first-floor saloon. Both the foyer and saloon are decorated with friezes with illustrations of nereids, dolphins, cherubs etc. The saloon is decorated in the Cinquecento style with a coffered ceiling and enriched spandrels above the arcades and Ionic capitals at the top of marble pilasters and columns.

Only the towered sanctuary of the temple does exist today; its outer walls have been dismantled. The sanctuary was originally surrounded by a passageway on three sides, possibly with a mandapa extension to the east which can be predicted by observing the broken roof slabs set into its walls and the stumps of beans with friezes of ganas. The temple's doorway is framed by bands of lotus ornament. An unusual, elliptical pedestal is seen within which happens to be empty now.

The majority of Austronesian structures are not permanent. They are made from perishable materials like wood, bamboo, plant fiber, and leaves. Because of this, archaeological records of prehistoric Austronesian structures are usually limited to traces of house posts, with no way of determining the original building plans. Indirect evidence of traditional Austronesian architecture, however, can be gleaned from their contemporary representations in art, like in friezes on the walls of later Hindu-Buddhist stone temples (like in reliefs in Borobudur and Prambanan).

Smith and Anderson describe it: > There was accommodation for 400, including spacious bachelor suites let by > the year for "gentlemen residing in the city". Ground floor public rooms > included the Palm Lounge, Ballroom, Coffee Lounge, Supper Room and Reading > Room. All were elaborately decorated with mahogany panelling, silk wall > hangings, plaster friezes and Renaissance ceilings. As a landmark it was > superb and on a clear day the tower could be seen from the Forth Bridge > approaches with Arthur's Seat as a backdrop.

1900, possibly Charters Towers' best-known building, just opposite (now a Target store). The first form of the Post Office was as a symmetrical verandahed building facing Gill Street, with a cast-iron double-storey verandah, deep latticework friezes and a hipped roof clad in corrugated galvanised iron. In the manner of Queensland stump houses, the upper verandah was centred compositionally with a pediment, and balustraded with cast iron lacework. The three chimneys were stuccoed Italianate in detail, with large moulded caps.

Looking towards the Race & Sports Book in 2009 Caesars Forum is the original casino of the hotel which opened in 1966 with 30 gaming tables and 250 slot machines. It contains 20 black Italian marble columns with white marble and gold leaf trimmings. Friezes and statues depict Roman conquests, and women motifs are prevalent. In the centre is a flat ornate dome with an "enormous chandelier in the shape of a Roman medallion, made of 100,000 handmade and handpolished crystals" on the ceiling.

The mukha mandapa (main hall) and the sabha mandapa (community hall for functions) show intricate carvings. The Durga temple reverentially displays gods and goddesses from Shaivism, Vaishnavism and Shaktism traditions of Hinduism. The included near life-size statues include Shiva, Vishnu, Harihara (half Shiva, half Vishnu), Durga in her Mahishasuramardini form killing the buffalo demon, goddesses Ganga and Yamuna, Brahma, Surya, avatars of Vishnu such as Varaha and Narasimha. The temple has friezes to tell the story of the Ramayana and the Mahabharata.

The Solon Dogget House is a historic house at 50 Union Street in Quincy, Massachusetts. The 1-1/2 story wood frame house was built in 1872 by Henry G. Pratt, who sold it to Solon Dogget, a poet and artist. It is a well-preserved local example of Second Empire style, with a mansard roof, patterned shingling on the walls, and Queen Anne porches with spindled friezes and turned posts. It has Stick style bracketing on the door hoods.

For the murals in the lobby, hypodermic needles were used to inject acrylic resin to restore the paint and plaster. On the executive office floors, workers restored the barrel-vaulted ceilings, plaster friezes, and other elements. Restoration of the building also involved replacing a corner column; A+ Construction of Rye, New York was responsible for this work. The building's 23 elevators were also upgraded, new fire alarms, building command systems, and chillers installed, and restrooms made accessible to those with disabilities.

Elaborate exterior decoration is rare, but was typified by The Irish House on Wood Quay in Dublin, which was surrounded in 1870 by coloured friezes of nationalist heroes, and with iconic traditional themes such as round towers. Parts of Ulysses were filmed in this pub in 1967. Irish pubs traditionally did not sell food as dining out was not a major part of Irish culture. That changed in the 1970s and food is now a significant part of the Irish pub experience.

These vases were produced at about the same time as the François vase, which depicts this subject to perfection. However, Sophilos does without any trimmings in the form of animal friezes on one of his two dinos,Found on the Akropolis in Athens, now in the Akropolis Museum, inventory number 587. and he does not combine different myths in scenes distributed over various vase surfaces. It is the first large Greek vase showing a single myth in several interrelated segments.

François vase, c. 570 BC, Archaeological Museum of Florence Starting around the second third of the 6th century BC, Attic artists became interested in mythological scenes and other representations of figures. Animal friezes became less important. Only a few painters took care with them, and they were generally moved from the center of attention to less important areas of vases. This new style is especially represented by the François vase, signed by both the potter Ergotimos and the painter Kleitias (570–560 BC).

The Gilbert Hadley Three- Decker stands on a residential street west of downtown Worcester, on the west side of Russell Street between Pleasant and Larch Streets. It is a three-story wood frame structure, with a hip roof and clapboarded exterior. Its main facade is three bays wide, with the main entrance in the rightmost bay. A single-story porch extends across the front and wraps around to the right side, and is elaborately finished, with spindled friezes, chamfered posts, and decorative brackets.

The view of the rear façade is alike the front but in a more simplified and devoid of color friezes or glazed details. The passage of time, acts of war and inappropriate reconstruction work resulted in the loss of part of the decoration on the facades of the building. In the corner is preserved a surviving metal frame structure where was mounted the cable network of telegraph and telephone, topped with an ornate flèche from the date of construction of the facility "1885".

Prominent avant-corps are noticeable from Jagiellońska street, lowerones are present on Pocztowa's facade. The ensemble is covered by a gable roof with embedded dormers. The decoration of the facade is simplified in comparaison with the older building, but the same decorative repertoire is partly repeated. It uses wimpergs, pinnacles, pointed arches, arched windows and portals, along with a diverse combination of brick traceries, iron rose window and color friezes with rhythmically repetitive arrangements of red and green glazed bricks.

The year after it was founded, in 1816, the Club moved into its first premises in Albermarle Street. Three years later, in 1819, it moved to Charles Street and in 1828 to a purpose-built clubhouse at 116 Pall Mall, designed by the noted architect John Nash.Jackson (1937) The club house, on the corner with Waterloo Place, was built between 1826 and 1828. Its style, displaying military friezes along the top of the building, was later mirrored by the Athenaeum opposite.

On the second floor on number 1, the only building in that block not part of the Parliament administration, is a suite of rooms created by Louis Masreliez for the tradesman and bachelor Wilhelm Schwardz in 1795. Sensuously dressed up in pastel, grey, and gold, the elegant Gustavian Classicism interiors features lighted candles, cut-glass chandeliers, taffeta curtains, and friezes and medallions displaying a multitude of classical gods and figures, all perfectly restored by the current owner, the insurance company Skandia.

Formalised bands of motifs such as alternating forms known as egg- and-dart were a feature of the Ionic entablatures, along with the bands of dentils. The external frieze often contained a continuous band of figurative sculpture or ornament, but this was not always the case. Sometimes a decorative frieze occurred around the upper part of the naos rather than on the exterior of the building. These Ionic-style friezes around the naos are sometimes found on Doric buildings, notably the Parthenon.

Above the lower level band with friezes depicting the Hindu fables and legends is a band of mythical makaras (a creature based on the fusion of various animals) and then a band of decorative peacocks. Above the peacock band of nearly 200 relief carvings are rows of secular life of the people and small size deity reliefs that wraps around only the sabha mantapa (community hall) part of the main temple. Most of these are defaced and damaged. Some are difficult to identify.

An Ichthyo- Centaur, 2nd century Gandhara, Victoria and Albert Museum. Various fantastic animal deities of Hellenic origin were used as decorative elements in Buddhist temples, often triangular friezes in staircases or in front of Buddhist altars. The origin of these motifs can be found in Greece in the 5th century BC, and later in the designs of Greco-Bactrian perfume trays as those discovered in Sirkap. Among the most popular fantastic animals are tritons, ichthyo-centaurs and ketos sea-monsters.

Main building Built in red brick in the Renaissance style, Borreby consists of two and a half floors resting on stone plinth and topped by a pitched roof. There are four towers, three on the north side and a staircase tower on the south side. The masonry is decorated with arched friezes above each storey and the windows are topped by depressed arches. The defensive character of the building is witnessed by machicolation holes which are found on all sides.

The church has two bell towers. The oldest one, named after Charlemagne, is the surviving one of the two originally flanking the first Romanesque church (the other ceased to exist in the 14th century). Begun in the early 11th century, it has a square plan with six levels separated by friezes with Lombard bands and double mullioned windows. The new bell tower (70 m high) started in 1590 and completed (with a modified design) in the 18th century, has an octagonal plan.

Figurative sculpture was based on two other sources in particular, manuscript illumination and small-scale sculpture in ivory and metal. The extensive friezes sculpted on Armenian and Syriac churches have been proposed as another likely influence.V. I. Atroshenko and Judith Collins, The Origins of the Romanesque, p. 144–150, Lund Humphries, London, 1985, These sources together produced a distinct style which can be recognised across Europe, although the most spectacular sculptural projects are concentrated in South-Western France, Northern Spain and Italy.

Architects reacted against the excesses and profuse ornament used in Late Baroque architecture. The new "classical" architecture emphasized planar qualities, rather than elaborate sculptural ornament in both the interior and the exterior. Projections and recessions and their effects of light and shade were more flat; sculptural bas-reliefs were flat and tended to be framed by friezes, tablets or panels. This was the first "stripped down" classical architecture, and appeared to be modern in the context of the Revolutionary Period in Europe.

Alexander submitted his plan for the site's artwork in December 1932. As part of the proposal, the complex would have a variety of sculptures, statues, murals, friezes, decorative fountains, and mosaics. Expanding upon Hood's setback-garden plan, Alexander's proposal also included rooftop gardens atop all the buildings, which would create a "Babylonian garden" when viewed from above. At first, Alexander suggested "Homo faber, Man the Maker" as the complex's overarching theme, representing satisfaction with one's occupation rather than with the wage.

In the center are two intertwined serpents which seem to form the shape of a tlaxmalactl or ball game marker. The friezes running along the upper edges of the court are composed of interlocking scroll figures, each containing a central element of a head and an eye. Many have feathered headdresses and reptilian attributes and a few are human like. View of South Ball Court The South Ballcourt, like the North Ball court, has only vertical walls which are sculpted.

Inside the main mandapa are four intricately carved pillars in the Hoysala style; these carving include depictions of Rama, Lakshmana, and Sita of Vaishnavism, Durga as Mahishasuramardini of Shaktism and Shiva-Parvati of Shaivism. Images are missing from the square sanctum. The temple has a smaller shrine with friezes depicting the legends of Vishnu avatars. This ruined temple complex is well known for its thousands of carvings and inscriptions, its elaborate frescoes depicting Hindu theosophy and its sprawling courtyard laid with gardens.

In 1895 at the Belfast Art and Industrial Exhibition, Robinson exhibited a decorated oak settle. It is most likely the same piece that she later exhibits at the Arts and Crafts Society of Ireland exhibition in Dublin in the same year. It has been concluded that a settle which is now in the collections of the Ulster Folk and Transport Museum is probably this piece. Over time the school's scope broadened, with members showing chairs, panels, mantelpieces, music stands and friezes.

The present building, the Palazzo delle Belle Arti (Palace of Fine Arts) at Via delle Belle Arti, 113 (near the Etruscan Museum) was designed by prominent Italian architect Cesare Bazzani. It was completed between 1911 and 1915. The facade features exterior architectural friezes by sculptors Ermenegildo Luppi, Adolfo Laurenti, and Giovanni Prini, with four figures of Fame holding bronze wreaths, sculpted by Adolfo Pantaresi and Albino Candoni. The museum was expanded by Bazzani in 1934, and again in 2000 by architects Diener & Diener.

The Church of St Andrew in Compton Bishop, Somerset, England dates from the 13th century, being consecrated by Bishop Jocelin in 1236, with more recent restoration. It is a Grade I listed building. The church has a 14th- or 15th- century pulpit with tracery panels, carved friezes and cresting, described as "one of the best in Somerset". Above the pulpit is a large pedimented wall monument to John Prowse who died in 1688, as well as several of his children.

The monument takes the form of an "arc de triomphe". As part of Abbal and Moncassin's friezes they include the names of some of the major battles fought- "Flandre" "Marne" "Arras" and around these names they depicted scenes associated with the battles. Abbal gave prominence to the role played by the aeroplane in the conflict and in his main scene a bi-plane takes centre stage. Moncassin gave prominence to the tank and an FT Renault tank figures in his frieze.

In the courtyard can be seen some of the carved stones from the friezes that were brought up from the ruined Sabayil fortress that lies submerged underwater off Baku's shore. The stones have carved writing that records the genealogy of the Shirvanshahs. The complex was designated as a historical site in 1920, and reconstruction has continued off and on ever since that time. According to Sevda Dadashova, Director, restoration is currently progressing, though much slower than desired because of a lack of funding.

Its origin is probably due to the representation in stone of the garlands of natural flowers, etc., which were hung up over an entrance doorway on fête days, or suspended around an altar. The design was largely employed both by the Ancient Greeks and Romans and formed the principal decoration of altars, friezes and panels. The ends of the ribbons are sometimes formed into bows or twisted curves; when in addition a group of foliage or flowers is suspended, it is called a drop or margent.

Fair Meadows is a historic home located at Creswell, Harford County, Maryland. It is a -story Second Empire–style house constructed in 1868 for the last owner of Harford Furnace, Clement Dietrich. The house is constructed of irregularly laid ashlar and features a mansard roof, cupola, dormers with rounded hoods, and stone quoins. The interior has a center hall plan and includes intricate inlay designs, black and white marble tiles in the center hall, plaster ceiling ornaments and friezes, marble mantels, and original crystal chandeliers.

Over 30 species of plants bear the name howellii in honor of Howell. He donated his collection of approximately 10,000 plant specimens to the University of Oregon, which was subsequently transferred to Oregon State University in 1993. He spent the 1903–1904 academic year cataloging the collection for the University of Oregon. Thomas Howell is one of the 158 names of people who are notable in the early history of Oregon painted in the friezes of the House and Senate chambers of the Oregon State Capitol.

The interior is decorated in polychromatic blue and white azulejo tile, with the ceiling covered in wood, divided into panels and reinforced with metal beams, further divided by friezes, cornices and equally-spaced corbels. The pavement consists of slabs of granite, with wood pedestals in lateral areas. The main door is protected by wind-guard and flanked by two stone holy water fonts. Constructed in wood, the high choir is protected by balustrade and accessed by staircase on the left-hand side of the entrance.

In the frescoes of the Villa Chiericati-Mugna, executed between 1587 and 1590, he developed a series of allegorical landscapes, which represent the months of the year, each recognizable by their astrological sign. The series is complemented by a trompe l'oeil of a door that reveals a page with a dog, a painting above the fireplace with Apollo holding a lyre and friezes containing mythological figures along the walls.Anne-Sophie Banner, pp. 32–33 Toeput left various drawings representing the seasons and months of the year.

The facade contains ornaments such as swags and wreaths. There are bronze spandrels with decorative friezes within the upper-story bays, and the facade of the top story under the parapet contains bronze lion heads. Foliated reliefs are located within the door and window frames at ground level, and antefixes are located above the shop windows and the Dey and Fulton Street subway entrances. The subway entrances also contained granite faces and bronze gates, and the decoration extended into the basement where the subway platform was located.

In the centre of the façade are full height black iron gates, and a two-storey former carriage archway flanked by pilasters. Above the entrance at both first and second floor level are examples of lavish Victorian splendour with ornate terra cotta friezes that run the length of the façade. WPG was built on the site of the artillery brewery, one of several breweries and distilleries in the area. However, the "artillery" name commemorates the historical use of the area for military exercises and target practice.

Main facade facing east, of five panels, those at the extreme ends indented, at the level of the upper register. Its centre is marked, by panel stone, with three arched doors, surmounted by balcony topped by lintel, on large corbels, with wrought iron guard. Three doors open at the level of the balcony, each between Ionic columns with wreaths, supporting a cornice, limited by two figureheads with frieze decorated with phytomorphic elements. In turn, the friezes crown a cornice topped sculpted urns, limited by step pyramids.

The arch is built in reddish brickwork in the Neo-Mudéjar style. The front frieze contains the stone sculpture Barcelona rep les nacions (Catalan for "Barcelona welcomes the nations") by Josep Reynés. The opposite frieze contains a stone carving entitled Recompensa ("Recompense"), a work from Josep Llimona's earliest period, representing the granting of awards to the participants in the World Exposition. The friezes along the sides of the arch include allegories of agriculture and industry by Antoni Vilanova and of trade and art by Torquat Tassó.

The church is a 19th-century red brick neo-Gothic construction, though the rebuilt version of the early 1900s lacks the tower, side isles, stone decorations, rose window and pinnacles of the original. The chapel, known today as Chapel of the Resurrection, is a duplicate of the 15th and 18th Century original and was completely renovated in the 1990s, losing almost all its original internal features. It is neoclassical, with Doric columns, pediment and friezes. The stained glass windows were painted by Thomas Reinhold of Vienna.

The curvilinear frontispiece of the church, includes sculpted stone, crowned by a Latin cross surmounting an acroterion and small urns, over parallel plinths above the corners. This facade is broken by main portico, surmounted by friezes and flanked by rounded elements with three windows. The bell-tower has two registers, the first with portico surmounted by frieze and cornice, over a square window with decorative elements. The second register has two belfries with rounded openings and pillars, terminated by cornice, balustrades and acroterions on the corners.

The company changed its name in 1919 to Munsingwear. The company built five brick and concrete buildings between 1904 and 1915, eventually creating a complex covering and employing up to 2000 workers. The five- to eight-story buildings had long rows of windows, and although the buildings mostly had a plain appearance, the architects added some details such as slightly projecting cornices, fretwork friezes, and fluted Doric columns. The oldest of the buildings, along Glenwood Avenue, is notable for being the city's first entirely reinforced concrete building.

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

It is located 62 km south of Mérida, capital of Yucatán state in Mexico. Its buildings are noted for their size and decoration. Ancient roads called sacbes connect the buildings, and also were built to other cities in the area such as Chichén Itzá in modern-day Mexico, Caracol and Xunantunich in modern-day Belize, and Tikal in modern-day Guatemala. Its buildings are typical of the Puuc style, with smooth low walls that open on ornate friezes based on representations of typical Maya huts.

It originally was embellished with marble mosaics of many different colors, multiple columns and friezes, and statues placed in niches. The central niche contains a statue of the emperor Augustus, although this was most likely a restoration of an original statue of Apollo, the god of music and the arts. The central door, below the niche containing this statue, is called the Royal Door, or valva regia. This door was used only by the most important, principal actors to enter and exit the stage.

In the early 16th century Welsh cloth for export was mainly produced in south Wales and shipped from the local ports. During that century there was a shift in production to mid-Wales and north Wales. After the Act of Union in 1536 the Shrewsbury Drapers provided an increasingly important export market for Welsh light coarse cloths, known as cottons, friezes and flannel. The Mercers, who retailed cloth, had formerly claimed a share of the Welsh trade, as had the Shearmen, who finished the cloth.

Despite their fragmentary nature, these provide some of the largest and richest Second-Temple era assemblages ever found, a testament to the splendor described by Josephus. Finds include Corinthian capitals, Doric friezes and modillion cornices. The motifs featured on the fragments found occasionally match patterns witnessed in other Second-Temple era public buildings unearthed in the region, while others reflect unique architectural characteristics. These include floral motifs, rosettes, cable patterns similar to finds in the Hauran region of southern Syria and acanthus leaves featured in Roman architecture.

Some friezes, the only remains of the once powerful castle, are now preserved in the San Martino church. In 1576 the Savoy family exchanges the Cirié area with an access to the sea with the Doria Marquis of Genoa: Gian Gerolamo D'Oria establishes his residence in Cirié, starting the long dynasty (the D'Oria e del Maro di Cirié) which ruled the city till the last Marquis Emanuele D'Oria, who becomes the first mayor when Cirié, in force of a royal decree, is established a "city" in 1905.

Constructed -1880 It is a two-storey granite structure containing prisoner accommodation - originally intended to provide accommodation for one prisoner per cell. During WWI the German internees undertook to improve the internal finishes of the cell blocks and remnants of decorative friezes and dados are still in evidence in some of the cells. The structure is currently unroofed exposing the top storey to the elements. Cell Block B was constructed between 1899 and 1900 and runs southwest from the rear of the mess hall.

Cast iron was also used for sills, friezes, columns, railings, mullions, transom bars, and snowguards. While the conservatory has undergone many renovations since the original construction, the same palette of materials has generally been maintained. However, the building systems behind what visitors see have been greatly altered in major efforts to maintain the best possible environment for the plants inside. Though technology has advanced greatly, the commitment to state-of-the-art systems has remained unchanged since the earliest boiler systems installed by Lord & Burnham.

The three central windows to the postal hall were framed by four quasi-pilasters, using face brick shafts and stucco-rendered Tuscan capitals. These complement the six timber posts that flank the recessed balcony immediately above and support the entablature. The window-heads and balcony lintel are all surmounted by two moulded stucco friezes running across each storey, with the lower forming a plate for the Post Office label. The windows are all double-hung sashes with multipaned upper lights and tilted brick sills.

The roofs of the side sections are hipped, while the central section has a side-gable roof pierced by four hip-roof dormers on both the land and ocean sides. The interiors are elegantly appointed, with a marble- floored vestibule, fireplaces finished in marble and wood, and ceilings with decorative friezes and medallions. The building has seen only modest alterations since its construction. The first summer house built on this property was called "Sonogee", and was destroyed by fire within two years of its construction.

Location of Swat Museum in Mingora city. The museum contains Gandharan statuettes and friezes depicting the lives of the Buddha along with seals, small reliquaries and other treasures, mostly from Butkara No 1 and Udegram. Additionally, there are pre-Buddhist artefacts, and an ethnographic gallery with traditional carved Swati furniture, jewellery and embroideries.Swat Museum - Museum in Mingora & Saidu Sharif. LonelyPlanet.com A recent discovery, includes a stone ‘board’ game found at the Buddhist Complex of Amluk-Dara, of a sort still played in the valley today.

The Cosmatesque style takes its name from the family of the Cosmati, which flourished in Rome during the twelfth and thirteenth centuries and practiced the art of mosaic. The Cosmati's work is peculiar in that it consists of glass mosaic in combination with marble. At times it is inlaid on the white marble architraves of doors, on the friezes of cloisters, the flutings of columns, and on sepulchral monuments. Again, it frames panels, of porphyry or other marbles, on pulpits, episcopal chairs, screens, etc.

Three years later he purchased the refreshment rooms at 65 and 67 Katoomba Street. In 1925 Zacharias Simos employed H. & E. Sidgreaves, the shop-fitting firm responsible for the design of Washington H. Soul's Sydney pharmacies, to convert the interior of the cafe premises on classical (Art Deco) lines, along with local architect Harry Lindsay Blackwood. A soda fountain, of the finest Moruya marble, and booths of Queensland maple were installed as were the timber-panelled walls decorated with alabaster friezes depicting classical Greek figures.

The nave, recessed chancel and the semicircular apse are built of naturally coloured granite blocks, white-plastered tuff and brick. Evidence of the Romanesque style can be seen in the apse's east window. Cross-arched and stepped friezes decorate the exterior of the apse while zigzag and lozenge designs top the nave and chancel walls. While the windows on the north side of the chancel exhibit only minor adaptations to the Gothic style, the five on either side of the nave are clearly pointed.

In 1841, however, he was defeated, and he was again unsuccessful as a candidate for Berwick at the general election of 1847.Craig, page 41 The Craigentinny MarblesHe died, unmarried, at Craigentinny House, near Edinburgh, on 31 October 1848, in his sixtieth year, and was by his own desire buried on his estate in a mausoleum erected after his decease, and decorated with sculptured friezes by Alfred Gatley, subsequently referred to as the Craigentinny Marbles. A portrait of William Henry Miller, by Sir Thomas Lawrence, was engraved.

The main entrance portals are framed with a decorative limestone lintel depicting a bird and human figures. The limestone friezes above each set of doors depict a bell flanked by a Mongolian and a Native American, which respectively symbolize the Eastern world and the Western world. On the West Street facade, the main entrance portal is flanked on either side by two single-width double- height bays, a triple-width double-height bay, and another single-width double-height bay. These double-height bays contain storefronts.

Many pieces are signed and dated, and on court pieces the name of the owner is often inscribed; they were typically gifts from a ruler. As well as a court workshop, Cordoba had commercial workshops producing goods of slightly lower quality. In the 12th and 13th century workshops in Norman Sicily produced caskets, apparently then migrating to Granada and elsewhere after persecution. Egyptian work tended to be in flat panels and friezes, for insertion into woodwork and probably furniture – most are now detached from their settings.

John Crunden designed the Castle Inn ballroom in the Adam style, which is still discernible in the interior despite the many changes of use the building has experienced. The internal walls had elaborate pilasters decorated with scrolls and friezes, and at the north and south ends there were recessed areas separated from the main section by columns. Between the pilasters were a series of wall paintings. When the building was re-erected at Montpelier Place, galleries were added above the north and south recesses.

Detail of the historical frieze at the Voortrekker monument After World War II, Romanelli's workshop was involved in the creation of the historical friezes for the Voortrekker Monument in South Africa. The design was created by four South African sculptors Hennie Potgieter, Laurika Postma, Frikkie Kruger and Peter Kirchhoff who spent five years creating plaster of Paris panels. These were sent to Florence where Romanelli had a large studio with machinery and technical equipment. He directed 50 chisellers replicating the plaster of Paris designs in Quercetta marble.

The Edwin Johnson Three-Decker is a historic three-decker at 183 Austin Street in Worcester, Massachusetts. When the building was listed on the National Register of Historic Places in 1990, it was highlighted for its Queen Anne styling, including a three-tier porch with turned balusters, bracketed roofs, and spindled friezes. Since then, much of this detail has been removed or obscured (see photo). It was built about 1892, during a triple-decker construction boom in the Crown Hill area west of the city downtown.

Friezes with sixty ferocious lions representing Ishtar decorated each side of the Processional Way, designed with variations in the color of the fur and the manes. On the east side, they had a left foot forward, and on the west side, they had the right foot forward. Each lion was made of forty-six molded bricks in eleven rows. The lion is pictured upon a blue enameled tile background and an orange coloured border that runs along the very bottom portion of the wall.

One of his works shows Hades and Persephone in her palace in the underworld. The compositions and the mythological content are close to those of the Darius Painter, and the influences can be seen in his depictions of robes and faces. Other subjects include Hades kidnapped Persephone, Eos kidnapped Cephalus, and Castor and Pollux abducting the daughters of Leucippus. In the first two vases he is quite free in his presentation, he distributed the figures on different levels and separates them by tendrils friezes.

In 1819, he was employed, along with the architect Giovanni Battista Comolli, in painting vast frescoes for the Roman Catholic Church of St Mary Moorfields, London. Between the years 1820 and 1830, he published several books on art including a Collection of Capitals and Friezes drawn from the Antique and Antiquities of Mexico illustrated with over 1000 plates, drawn from the originals. He also painted a portrait of Queen Victoria, which was engraved. A street in modern-day Cremona is named after the artist.

Ichthyocentaur statue outside the State of Missouri's capitol building. In late Classical Greek art, ichthyocentaurs (, plural: ) were centaurine sea- beings with the upper body of a human, the lower anterior half and fore-legs of a horse, and the tailed half of a fish. The earliest example dates to the 2nd century B. C., among the friezes in the Pergamon Altar. There are further examples of Aphros and/or Bythos, the personifications of foam and abyss, respectively, depicted as ichthyocentaurs in mosaics and sculptures.

The longitudinal plan of the chapel includes a rectangular nave preceded by an open porch awning covered in tile. The facade is constructed in irregular granite blocks, with its joins painted in white, while the embasement is encircled by friezes and cornices, with pilasters situated on the corners, surmounted by pinnacles. This facade is oriented to the southwest with two stone, rectangular pillars supporting a cornice of cement and covered. It floor consists of blocks of granite, while the awning is constructed in varnished wood.

It is 23 stories high and is located at the northwest corner of 9th and Hamilton Street. It was designed by the New York architectural firm of Helme, Corbett, and Harrison. Wallace Harrison came to Allentown to design the building, which was a prototype for the Art Deco architecture of Rockefeller Center in New York City. The decorative friezes on the exterior of the building were designed by Alexander Archipenko. It was built between 1926–28 and was opened to the public on July 16, 1928.

2 Detail of the Memorial's friezes Above the colonnade, inscribed on the frieze, are the names of the 36 states in the Union at the time of Lincoln's death and the dates in which they entered the Union.The date for Ohio was incorrectly entered as 1802, as opposed to the correct year, 1803. Their names are separated by double wreath medallions in bas-relief. The cornice is composed of a carved scroll regularly interspersed with projecting lions' heads and ornamented with palmetto cresting along the upper edge.

Former building of the Central Committee of the Communist Party in Kiev Arnaldo Dell'Ira, Tempio degli Eroi Neo-Baroque (Baroque Revival) shows a return to the eighteenth century with the proportion of orders becoming gigantic, enriched with ornamental friezes. It is the public architecture of the Soviet Union with the various buildings of the central party committees in Leningrad as in Kiev. The scenographic vision of the architectural space, which is to celebrate the regime, takes over on the planimetric composition of the buildings.

It is decorated with a gold cast-plaster ceiling, hand-oiled wood paneling, and nine mirrored windows along three sides. The South Galleria is painted with floral friezes inspired by the decor of ancient Roman Pompeii, and features a vaulted ceiling, marble balustrades and heavy Roman piers. Gold-painted wrought iron gates open to a staircase leading down to the Biltmore Bowl. Also of interest is the hotel's health club and indoor pool, which was modeled after the decks of 1920s luxury ocean liners.

Some traces remain of the presence of the Kushans in the area of Bactria and Sogdiana in the 2nd-1st century BCE, where they had displaced the Sakas, who moved further south. Archaeological structures are known in Takht-i Sangin, Surkh Kotal (a monumental temple), and in the palace of Khalchayan. On the ruins of ancient Hellenistic cities such as Ai-Khanoum, the Kushans are known to have built fortresses. Various sculptures and friezes from this period are known, representing horse-riding archers,Lebedynsky, p. 62.

The main facade is oriented towards the west, that includes two floors separated by friezes, with a framed, granite central doorway on the ground floor flanked by four veins of framed rectangular windows. On the second floor there are nine windows framed similarly to those on the ground floor. The principal facade of the lateral building extends architecturally from the main building, with a ground floor with a door and windows on both floors. Integrated into the construction, the tower's third floor is only visible.

Plaque on the viaduct From the south, traffic from Park Avenue, 40th Street, or the Park Avenue Tunnel enters the steel viaduct. The viaduct rises to a T-intersection just north of 42nd Street, over the street-level entrance to Grand Central Terminal below. This segment of the viaduct is long and consists of a granite approach ramp with stone balustrades, as well as three steel arches, which are separated by granite piers with foliate friezes. The central arch has been infilled to create a restaurant space.

She also believes that looking to date the basin based on the costumes represented is absurd, as Mamluk artists worked more abstractly rather than direct representation. S. Makariou considers R. Ward's hypotheses valid, while other researchers disagree. D. Rice argues, based on the difference in clothing and physical characters of the external friezes, contrasts with the traditional Mamluk costume, that two the basin depicts two distinct groups: panels E1 and E3 depict Turkish emirs and panels E2 and E4 depict Arab servants.Rice 1951, p. 13-19.

The wooden entrance doors are carved with such Tudor forms as linenfold panels and fish-bladder tracery, and decorated with hardware based on sixteenth-century precedents. Public lobbies include half-timbering, carved woodwork, beamed ceilings, arched openings, plaster friezes and rosettes, and Tudor-style fixtures and furnishings. Although the buildings are unified by the consistent use of Tudor detail, there is a significant amount of variety since no two buildings have the same decoration. The stone, terracotta, woodwork, ironwork, and glass used were of the highest quality.

The Painter of the Dresden Lekanis is the common name for a vase painter of the Attic black-figure style, active around 580-570 BC. He emigrated to Boeotia and is in fact identical with the Boeotian Horse-bird Painter. His conventional name is derived from his name vase, a lekanis at Dresden (Inv. ZV 1464). A typical feature of his works are animal friezes, especially with sirens; their execution has been characterised by John Boardman as a caricature of the figures by the KX Painter.

The 1931 museum building, today known as the Elizabeth M. and Richard M. Ross Building, was designed in the Second Renaissance Revival style by Columbus architects Richards, McCarty and Bulford. It has a concrete foundation, walls of limestone and concrete, and a truncated copper hipped roof. The building is horizontal, two stories high, and has a central structure advanced several feet in front of its two wings. The wings feature large limestone friezes, together known as The Frederick W. Schumacher Frieze or Masters of Art.

Because of the paintings adorning the walls, the synagogue was at first mistaken for a Greek temple, though this was quickly corrected by the vice-director of excavations Robert du Mesnil du Buisson in Les peintures de la synagogue de Doura-Europos (Rome, 1939). Mesnil also made detailed comparisons of the friezes from the Dura synagogue with those of the mithraeum, the Christian baptistery, and the temple of the Palmyrene gods.Guitty Azarpay Sogdian Painting: The Pictorial Epic in Oriental Art 1981 Page 147 "For a comparison of the arrangement of the friezes from the Dura synagogue and those of the mithraeum, the Christian baptistery and the temple of the Palmyrene gods, see Comte R. Du Mesnil du Buisson, Les peintures de la synagogue de ..." Scholars think the paintings were used as an instructional display to educate and teach the history and laws of the religion. Some think that this synagogue was painted in order to compete with the many other religions practiced in Dura Europos; the new (and considerably smaller) Christian Dura-Europos church appears to have opened shortly before the surviving paintings were begun in the synagogue.

Etruria Hall was built between 1768-1771 by Joseph Pickford, for Josiah Wedgwood, near his new recently built, Etruria works. The majority of the 'ceilings, ornamental friezes and chimney pieces' were designed by John Flaxman between 1781-1787. An entry in the 1784-1785 Wedgwood company ledger indicates that at least one of the ceilings was designed by William Blake, although it cannot be certain that this design was ever implemented. The hall was the site of the innovative research into photography by Thomas Wedgwood in the 1790s.

The flame palmette, central decorative element of the Pataliputra pillar is considered as a purely Greek motif. The first appearance of "flame palmettes" goes back to the stand-alone floral akroteria of the Parthenon (447–432 BCE), NEW FRAGMENTS OF THE PARTHENON ACROTERIA, The American School of Classical Studies at Athens and slightly later at the Temple of Athena Nike.The Sanctuary of Athena Nike in Athens: Architectural Stages and Chronology, Ira S. Mark, ASCSA, 1993, p. 83 Flame palmettes were then introduced into friezes of floral motifs in replacement of the regular palmette.

The use of sculptures as decoration for buildings during the full Romanesque period was something so commonplace that it was considered a necessity. Architecture and sculpting represented an inseparable iconographical program. The idea of the Church (an idea developed and disseminated by the Benedictines of Cluny), was to teach Christian doctrine through the sculptures and paintings of the apses and interior walls. The capitals of the columns, the spandrels, the friezes, the cantilevers and the archivolts of the portals were intricately decorated with stories from the Old and New Testaments.

Writers such as Barbara Pollock termed later works "monumental friezes" that recalled Stella's stripe paintings or the monolithic rectangles of Barnett Newman. Herzog expanded her themes and formal ambitions in four subsequent installations. At the outset of the U.S. War in Iraq, she turned to more specific cultural referents—Persian-style carpets deconstructed to the point of dissolution—in order to convey powerlessness, fragility, the fluidity of cultural meaning, and global power dynamics for Civilization and Its DisContents (Smack Mellon, 2003).Conner, Jill. "New York: Smack Mellon Studios, Custom Fit," Contemporary, 2003.

The primary building materials were local yellow sandstone and red tile roofs. The sandstone was quarried at the Graystone Quarry in San Jose, California, and transported to the building site via a private railway spur. Hundreds of laborers received the sandstone, cut it to size, dressed it, and finished it; skilled stonecutters and sculptors, primarily from Italy, installed it and embellished it with friezes. Over the objections of the architects, the Stanfords insisted that the main entrance to the Quad be "a large memorial arch with an enormously large approach".

Born in Florence, Robbia was the son of Marco della Robbia, whose brother, Luca della Robbia, popularized the use of glazed terra-cotta for sculpture. Andrea became Luca's pupil, and was the most important artist of ceramic glaze of the times. He carried on the production of the enamelled reliefs on a much larger scale than his uncle had ever done; he also extended its application to various architectural uses, such as friezes and to the making of lavabos, fountains and large retables. One variety of method was introduced in his enamelled work.

The friezes by Rude represented a classical hunting scene, The Hunt of Melanger for the entry portico and a series of eight reliefs for the rotunda, illustrating the life of Achilles. The work required representing dozens of figures, both in action scenes and scenes of pathos and drama. Rude based his work on the models of classical sculpture, but gave them exceptional naturalism and dynamism. The original work was destroyed by a fire in the lodge in 1879, but plaster copies made the from the original moldings and illustrations survive.

Demus, 6; Howard, 25 The Venetian sculptors of other capitals and friezes copied the Byzantine style so effectively that some of their work can only be distinguished with difficulty.Howard, 26 Gradually, the exterior brickwork became covered with marble cladding and carvings, some much older than the building itself,Howard, 26–27 such as the statue of the Four Tetrarchs (below). The latest structural additions include the closing-off of the Baptistery and St Isidor's Chapel (1300s), the carvings on the upper facade and the Sacristy (1400s), and the closing-off of the Zen Chapel (1500s).

Below the second eaves are the wall panel of images of Hindu deities and their attendants in relief, not all of which in this temple are sharp in workmanship.Foekema (1996), pp28-29 Below this, at the base are the six equal width rectangular moldings (frieze). Starting from the top, the friezes depict; hansa (birds) in the first frieze, makara (aquatic monsters) in the second, the usual depiction of scenes from the Hindu epics are absent in the third frieze which has been left blank. This is followed by leafy scrolls in the fourth frieze.

The wall is part of a circuit of battlements, vertical and reinforced by a southwestern tower with large buttress supporting various battlements. The Keep Tower is tall, with soft base and two floors, marked by doorway that opens to staircase addorsed to the southeast walls, consisting of varias friezes along the northwest and marked by machialottans, surmounted by parapets and prismatic merlons and decorated in pyramids. The weapons hall is situated on the first floor, covered with cross-vaulted ceiling. A staircase along the southern wall provides access to the second floor.

Main Mall Row is an adjoining group of nine commercial buildings along the northeast corner of the intersection of Main and Garden streets in downtown Poughkeepsie, New York, United States. They were mostly built after a fire in 1870 destroyed the previous buildings on the site. The new structures were three-to-four story buildings in the Renaissance Revival style, many with ornamental touches such as bracketed cornices, paneled friezes, arcaded facades and molded lintels. 315 Main Mall, at the east end, has an ornate cast iron facade.

It is also decorated in the jamb ornaments and capitals of Romanesque structures and in friezes and panels of buildings in the various Renaissance styles, where tiny animals or human heads also appear.Cf. J. Ward, Historic Ornament: Treatise on Decorative Art and Architectural Ornament, BiblioBazaar (2009), s.v. Rinceau. The rinceau experienced a return to the simpler Classic style in the 17th century, and in the subsequent century it was applied more freely, without a strict repetition of identical forms.Cf. A. Speltz, The History of Ornament: Design in the Decorative Arts, Portland (1989), s.v.

In Kuruvathi, Lord Basaveshwara's idol is 10 feet long and 9 feet high. Here Lord Basaveshwara fulfills the request of the devotees and bless them and their families if one offers prayer to him from Bhakti. This temple consist of a Garbhagriha, sukanasi, a Navaranga connecting the sanctum and outer Mandapa and a Rangamantapa. The Mandapa are built on square or polygonal plinths with carved friezes that are four to five feet high and have ornate stepped entrances on all four sides with miniature elephants or with beast.

The figures also more closely reflect Zapotec culture and tradition, painting designs derived from sources such as the friezes of the Mitla archeological site and ancient pictographic symbols for phenomena such as waves, mountains and fertility. Angeles also travels extensively to promote Oaxacan folk art, teaching in various educational venues and speaking at art exhibitions. Prices of the pieces vary according to size, originality and the quality of the work. The tradition here is to use branches of a tree locally called “copal,” which is often obtained from the local hills by the craftsmen.

The drunkenness of Silenus Van Opstal was particularly skilled in the carving of low-relief friezes with classical mythological themes. He worked not only in stone and marble, but was also an expert in carving ivory reliefs. His ivory reliefs were widely admired and collected by his contemporaries and 17 of them were in the collection of king Louis XIV. Gerard Cecil de Van Opstal’s style combined elements of Roman sarcophagi, the Renaissance, the Baroque style of Peter Paul Rubens and Francois Duquesnoy and the emerging French classical style.

The drapers bought the cloth in semi-finished form, and sold it after it had been finished, or nearly finished. The better Welsh wool was woven into cloth and fulled in Wales, making "plains" or "webs", or the wool was woven and fulled in Shrewsbury or nearby towns such as Wrexham, Denbigh, Oswestry and Chirk. The Shrewsbury drapers brought this cloth and had it cottoned and shorn. Other plains were finished as high friezes, with the upper fibres on one side raised into a rough, curly nap, suitable for cold weather outer clothing.

The lighthouse consists of a tower, lighthouse keepers' residence and several annexes. The cylindrical tower is plastered and painted, identifiable by eight high false radial buttresses that narrow closer to the circular balcony of overlapping rings, painted red. At the top of the lighthouse is a glass cupola, covered in metal and painted red and surmounted by weathervane. The tower includes four registers, the first marked by a rectangular doorway and frame, the two intermediaries by friezes and the last by a window, from which a staircase accesses the cupola.

The ruins are located in a semi- rural area; the archaeological station is situated 1500 metres west of the parish seat in Quarteira. These are the ruins of Roman villa constituted by two residences (the principal along the harbour), baths, necropolis, dams and fish salting stations. Of the two residences and baths, the only remnants are compartmentalized walls, including the impluvium, atrium and tablinum. There exists friezes of marble and fragments of painted stucco that decorated the walls, as well as the remains of poly-chromatic mosaic pavements.

The Mamallapuram cave temples are incomplete, which has made them a significant source of information about how cave monuments were excavated and built in 7th-century India. Segments of the caves indicate that artisans worked with architects to mark off the colonnade, cutting deep grooves into the rock to create rough- hewn protuberances with margins. The hanging rocks were then cut off, and they repeated the process. After the excavation, other artisans moved in to polish the rocks and begin the creation of designs, motifs, friezes and Hindu iconography.

The ticket hall, or rotonde, located under the Place du Havre between the stations of lines 12 and 13 has been called "one of the architectural masterpieces of the Métro". It was designed by the architect Lucien Bechmann in the form of a large rotunda, a legacy of the former Nord- Sud company. Its metallic vault, comprises eight interlocking pillars, is adorned with mouldings and ceramic tiles with light brown and green motifs, while the vault is tiled in white with green friezes. Pillars regularly receive backlit advertising posters during certain event campaigns.

The wedding of Peleus and Thetis provides the central image on another signed Athenian pot, the Francois vase made by Kleitias and Ergotimos. Here only one of the six friezes which cover this pot is an animal frieze, and even that is quite remote in style from Corinthian work. All the others show episodes from myth, and labels are copiously used, even for inanimate objects such as fountains and seats. Florencia François 01 With the combination of related stories and the unique drawing style by kleitas, this pot constitutes something new in Athenian painting.

Socarrats were mainly manufactured in two basic sizes: the smaller with 30 x 15 x 3 cm and the larger with 40 x 30 x 3 cm (approximate measures). The first one could be used in buildings in two main ways: decorating eaves (the lower edges of a roof that project over the walls) either leaning on walls or on joists. They could also be used in ornamental friezes, in balconies and staircases. The largest tiles filled the space between joists on interior ceilings, with both structural and decorative functions, supporting pavements or roofs.

There are three halls and two courtyards at King Law Ka Shuk, which is a traditional Chinese building with a functional design and elegant ornamental features. Geometric plaster mouldings can be found on the roof ridges and wall friezes while for the internal eave boards, patterns of leafy and motifs are used. To support the roof, there are two drum terraces, each having two granite columns, in the front of the study hall. An altar with six levels, which is intricately carved, can be found in the main chamber of the study hall.

A monument at the ceremonies area The award-winning artist and architect Sergey Vitalevich Goryaev served as artistic director of the project. According to the British Daily Telegraph, the cemetery will be "a testament to extravagance, a piece of architectural monumentalism intended to reflect the glory of a resurgent Russia. Drawings show that the site will feature obelisks, golden statues of figures from Russia's past and friezes of workers in heroic poses.Vladimir Putin's last resting place – with Stalin The cemetery will be richly adorned, using red and grey granite together with bronze".

The Crown and Greyhound's friezes and ceiling decoration are particularly impressive. The pub also merits a Taylor Walker Heritage Inn blue plaque, by virtue of its historic interest. On 13 August 1932, Alfred Edward Shervell (aged 49), the proprietor of the Crown and Greyhound in Dulwich Village, is reported to have died from his injuries in Nelson Hospital, Merton after falling in front of a train at South Wimbledon Tube Station. Dorene and Sydney Kitching are recorded as being the licensees of the Crown and Greyhound for over twenty years from the 1950s.

Placido Columbani was an Italian architectural designer who worked chiefly in England in the latter part of the 18th century. He belonged to the school of the Adams and Pergolesi, and like them frequently designed the enrichments of furniture. He was a prolific producer of chimney-pieces, which are often mistaken for Adam work, of moulded friezes, and painted plaques for cabinets and the like. English furniture designers of the end of the 18th century, such as the Adams, Hepplewhite and Sheraton, were influenced by his graceful, flowing and classical conceptions.

The screen The most striking aspect of the church's interior is the complex of seven screens dating to the early to mid 16th century, when the current church was built. They are described by Pollard and Pevsner as the church's "great glory" with the chancel screen forming "the magnificent centrepiece of the whole church". They are richly carved with Gothic and Renaissance motifs, the latter including friezes with putti. The wooden stalls in the chancel and twenty six rows of pews lining the nave were carved especially for Sefton, and date to around 1590.

The so-called "Tiepolo's Room", almost entirely decorated by the Venetian Master. The palace is actually formed by two different buildings, merged in the 17th century. The ancient part, a 15th-century Venetian-Gothic architecture featuring 12th century Byzantine friezes, was originally known as Palazzo Minotto; the newer part, Palazzo Barbarigo, was built in the 17th century. On the occasion of Gregorio Barbarigo's marriage with the keen and cultured Caterina Sagredo, in 1739, the greatest artists of the time were called to embellish the palace in both its parts, which had been unified by then.

These characteristics are pushed to their peak in the friezes of the Great Altar of Pergamon, decorated under the order of Eumenes II (197–159 BC) with a gigantomachy stretching 110 metres in length, illustrating in the stone a poem composed especially for the court. The Olympians triumph in it, each on his side, over Giants – most of which are transformed into savage beasts: serpents, birds of prey, lions or bulls. Their mother Gaia comes to their aid, but can do nothing and must watch them twist in pain under the blows of the gods.

The inner masonry walls are defined by round arches, supported by large pillars, above which are large decorated friezes, with triple horseshoe-shaped arches, and a larger central arch. The chapel's arms are crossed in the middle of the wall by a narrow ribbon of limestone. While the interior arms are supported by wooden joists, the interior part of the hemispherical dome is plastered and painted white. The granite floor slabs are inscribed with coat of arms, and preceded from the main church by a staircase to the lower chapel.

Lublin region created its own style with folk motives (Kazimierz Dolny), while the urban mannerism in Greater Poland replaced the Gothic gables with Italian style arcades, tympanums, friezes and pillars in tuscan order (Poznań). Warsaw, as one of the main cities of the Polish-Lithuanian Commonwealth and due to its role as seat of Parliament and King, was a place of meetings of cultures. The mannerist architecture in the city was a combination of many types of mannerist traditions. The Bohemian mannerism had also large influence on the architecture and sculpture in Poland.

Sebastiano Ricci, The Ecstasy of Saint Teresa (1724) It is dedicated to Saint Teresa of Ávila, the Spanish mystic that inspirated and founded the Discalced Carmelites. This altar is also made of white Carrara marble with four Corinthian columns supporting an arched pediment, on which are perched two angels. Bases and capitals are made of bronze, gilt bronze friezes are in the frontal and on the pedestals. The altarpiece (1724) depicts The Ecstasy of Saint Teresa, a masterpiece by Sebastiano Ricci, that communicates an intense emotion and the sense of a mystical sight.

While Leon Golub's later works from the 1990s offer more fragmented (in his words "left-over") reincarnations of his early messages, it is his larger, carved works, vividly depicting power relations that have re-gained attention with the U.S.'s involvement in Iraq and Afghanistan. In 2003, Golub revisited his 1959 painting, Reclining Youth, part of a series of paintings inspired by friezes at the Great Altar of Zeus in Pergamon. Working with Magnolia Editions, the artist translated the painting into a large-scale [] Jacquard tapestry, his first and only textile work.Magnolia Editions - Leon Golub.

The Meguti temple is historically important for its Aihole Prashasti inscription. A slab on the outer side wall of the temple is in Sanskrit language and Old Kannada script. It is dated to Saka 556 (634 CE), and is a poem in a variety of Sanskrit metre by Jain Poet Ravikirti who is also the adviser to the king Pulakeshin II. This inscription has initial verses dedicated to Lord Jina’s eulogy. The inscription mentions the poets Kalidasa and Bharavi, whose Mahabharata-related compositions are subject of friezes in Badami-Aihole-Pattadakal region.

Madonna by Domenico Rosselli, in the Ny Carlsberg Glyptotek Domenico Rosselli ( 1439 – 1498) was an Italian sculptor. Details of Rosselli's life are limited, but he seems to have trained in Florence. He is best known for his work on many of the friezes, sculpted doorways and decorative fireplaces in the Ducal Palace in Urbino, most particularly the angel fireplace, which depicts the Camino angels, in the Sala degli Angeli. Some authors have also identified him as the Master of the Marble Madonnas, although the assertion is by no means certain.

The Greek sculptors of the school of Pheidias perceived the battle of the Lapiths and Centaurs as symbolic of the great conflict between order and chaos and, more specifically, between the civilized Greeks and Persian "barbarians". Battles between Lapiths and Centaurs were depicted in the sculptured friezes on the Parthenon and on Zeus' temple at Olympia. Scigliano suggests that Michelangelo's Battle of the Centaurs also reflects the themes of "Greeks over barbarians" and "civilization over savagery", but in Michelangelo's work he sees, in addition. the triumph of "stone over flesh".

Kran is located in the so-called Valley of the Thracian Kings, a region of Bulgaria known for the abundance of Thracian sites and artifacts. In 1995, a team of archaeologists headed by Georgi Kitov unearthed a Thracian tomb under Sarafova Mogila, a mound near the town. The tomb is known as Kran II and was built in the 4th century BC. The tomb is notable for the earliest known example of painted friezes in Thracian architecture. It is also among the earliest to make use of bricks and mortar as construction materials.

Mackintosh was engaged to design the wall murals of her new Buchanan Street tearooms in 1896. The tearooms had been designed and built by George Washington Browne of Edinburgh, with interiors and furnishings being designed by George Walton. Mackintosh designed stencilled friezes depicting opposing pairs of elongated female figures surrounded by roses for the ladies’ tearoom, the luncheon room and the smokers’ gallery. In 1898, his next commission for the existing Argyle Street tearooms saw the design roles reversed, with Mackintosh designing the furniture and interiors, and Walton designing the wall murals.

The decorative system of the frescoes is characteristic for the one nave medieval churches in the Balkans. On the vault are depicted Christ and the prophets from the Old Testimony in two friezes, on the arms of the vault and on the walls there are scenes from the Gospels. Under them there is a layer of medallions with images of saints and to the bottom the used to be full-length portraits of saints and a baseboard which are now destroyed. The iconostasis dates from the 17th century and is almost fully preserved.

Temple of Zeus, Olympia, Greece. In the archaic pediments and friezes of the temples, the artists had a problem to fit a group of figures into an isosceles triangle with acute angles at the base. The Siphnian Treasury in Delphi was one of the first Greek buildings utilizing the solution to put the dominating form in the middle, and to complete the descending scale of height with other figures sitting or kneeling. The pediment shows the story of Heracles stealing Apollo's tripod that was strongly associated with his oracular inspiration.

The rotunda was modeled after the Pantheon; its terrazzo floor was modeled after the Piazza del Campidoglio in Rome. The rotunda also has friezes of scenes of Hudson River history. Surrounding the rotunda walls is an inscribed quotation from Cropsey: The main gallery is an octagonal Victorian room with maroon-flocked wallpaper above dark oak wainscoting and a timber ceiling, with a large oak staircase to the second floor. The room features Cropsey paintings from its floor to ceiling; the light is kept low, allowing the paintings to glow.

The church is located in the town of Trofa, in a small, isolated churchyard slightly arborized and enclosed by wall, separating it from agricultural lands. The plan of the church includes a long nave, with laterally-addorsed rectangular bell tower and sacristy, and covered in ceiling tile. The simple facade includes a portico crowned by niche, that includes statue and surmounted by simple cross, that two lateral friezes and a frontispiece, with corners in stones. The rectangular belltower, two-registers high, is topped by a conical ceiling, and includes a clock.

Located on the corner of Skolegade and Kirkegade, the church is a typical Neoromantic building in red brick with belts of grey stone on a granite socle. It originally consisted of a nave with a chancel and apse at the east end and an entrance through the tower to the west. Møller expanded the building in 1896 with transepts to the north and south fitted with galleries, doubling the seating capacity from 400 to 800. The outer walls are decorated with lesenes, round-arched friezes and a toothed cornice.

Born in the village of Staro Ramushevo in Novgorod province, into a blacksmith's family, Tomsky studied in Leningrad. In 1927, graduated from the Arts and Crafts College. The sculptor first came to attention with his memorial to Sergey Kirov, a heroic bronze with friezes around the base, for which he won the 1941 Stalin Prize. Thereafter his career developed in an official direction; he would be eventually tasked to re-design Lenin's own sarcophagus, produce Stalin's bust at Stalin's grave, and produce at least five major statues of Lenin throughout the Soviet Union.

The Rome Theater, named after its owner Granville Rome, was originally built in 1925 and was the first movie theater in Westchester County. The theater matched the movie palace designs that were popular at the time, including leather seats, friezes, velvet curtains and an original Photolayer pipe organ. The Rome Theater continued screening movies until it closed in 1987 and became an office building. In 1998 Stephen Apkon and the non-profit Friends of the Rome Theater purchased the Rome Theater and a land parcel next door for $1 million.

The railing is based on models at Versailles. An 18th-century Venetian ceiling painting featuring gods and goddesses adorns the ceiling. Architect Richard Morris Hunt hired Giuseppe Moretti to produce the interior's marble friezes and statuary, including work on bas-reliefs of Hunt and Jules Hardouin Mansart, the master architect for Louis XIV during the construction of Palace of Versailles; and which stood side by side on the mezzanine level of the staircase. The Grand Salon, designed by Allard and Sons, served as a ballroom and reception room.

Hoff came to Australia as a young man of 28. He soon adapted himself to Australian conditions, and his quiet, slightly whimsical personality made him generally liked. He was a quick worker and an artist of great originality, although his work, originally based on the Greeks, shows he had paid attention to tradition. He had studied much that was best in Italian work of the Renaissance, the Assyrian friezes, the attempt to retain only the essentials, characteristic of some of the moderns, and the simple sincerity of the Chinese.

These decorations were designed by Salières. The overlapping letters "G", "C", and "T" are sculpted into multiple places in the terminal, including in friezes atop several windows above the terminal's ticket office. The symbol was designed with the "T" resembling an upside-down anchor, intended as a reference to Cornelius Vanderbilt's commercial beginnings in shipping and ferry businesses. In 2017, the MTA based its new logo for the terminal on the engraved design; MTA officials said its black and gold colors have long been associated with the terminal.

The Thomas Lumb Three-Decker is a historic triple decker house at 80 Dewey Street in Worcester, Massachusetts. It is a well-preserved example of the style in Worcester's Piedmont section with Queen Anne styling. The building follows the typical side hall plan, and features porches on the front with turned posts and spindle friezes. Other details, including decorative brackets in the extended roof overhang and elements of the window surrounds, have been lost since the property was listed on the National Register of Historic Places in 1990.

There are two sculptures in the background. The one on the left is the god Apollo, god of light, archery and music, holding a lyre. The sculpture on the right is Athena, goddess of wisdom, in her Roman guise as Minerva. The main arch, above the characters, shows a meander (also known as a Greek fret or Greek key design), a design using continuous lines that repeat in a "series of rectangular bends" which originated on pottery of the Greek Geometric period and then become widely used in ancient Greek architectural friezes.

Thornburgh House faces east and is located within the grounds of Blackheath and Thornburgh College close to the main entrance gates on King Street. The house stands on a rise overlooking the school ovals and across the city to the central business district of Charters Towers. It is a two storey building of rendered masonry with a roof clad in corrugated iron and deep verandahs to three sides. The verandahs are supported by timber posts, linked by cast iron friezes and cast iron panels in a simple geometric design topped by timber handrails.

Above this on the attic frieze are inscribed the names of the 48 states present at the time of the Memorial's dedication. A bit higher is a garland joined by ribbons and palm leaves, supported by the wings of eagles. All ornamentation on the friezes and cornices was done by Ernest C. Bairstow. The Memorial is anchored in a concrete foundation, in depth, constructed by M. F. Comer and Company and the National Foundation and Engineering Company, and is encompassed by a rectangular granite retaining wall measuring in height.

Indo-Corinthian capital were also used in combination with architectural elements, such as Buddhist stupas. One of the best example was excavated and reconstituted at Sirkap. > Perhaps the most notable divergence from the western concept of function > occurs at Kalawan, Taxila, where a large acanthus capital set on a lotus > base was inserted between the conventional square basement and cylindrical > dome of a votive stupa. Further, in the art of Gandhara, Indo-Corinthian capitals on top of separating pilasters are used extensively in narrative friezes of the life of the Buddha.

Our Lady of Victory Chapel was completed in 1924, under the direction of Mother Antonia McHugh, who helped found St. Catherine in 1905 and served as its leader for more than 30 years. The Chapel was dedicated on October 7, 1924, and rededicated following renovation on May 1, 1958. It was designed by H.A. Sullwold in the Romanesque Revival style and influenced by the Church of St. Trophime in Arles, Provence, France. The entrance features friezes depicting Christ, the Twelve Apostles and the University's patron saint, St. Catherine of Alexandria.

The hotel is a good intact example of a Queensland country town hotel, characterised by its situation on a prominent corner with two storeyed post supported verandahs to the principal facades. The place is important because of its aesthetic significance. The Custom House Hotel is an integral element of the Wharf Street streetscape, and is of value for its aesthetic characteristics, including fine joinery, cast iron verandah friezes and glazing. The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.

The building is characteristic of a large timber residence of the late nineteenth century, and is characteristic of the fine design skill of architect GHM Addison. The building has considerable architectural merit as a well composed and innovative residence. The place is important because of its aesthetic significance. Many of the features of the building are of considerable aesthetic value including the joinery, particularly the entrance door, unpainted internally dado panelling which varies throughout; early wallpaper complete with friezes and borders; other internal joinery and glazing; door furniture and fireplaces.

The decline culminated in 1696 when the castle was sold to Livio Odescalchi, nephew of Pope Innocent XI; the Odescalchi family still retain the castle. In the castle, richly frescoed friezes and ceilings now contrast with blank walls, which were hung with richly coloured tapestries when the lords of Bracciano were in residence. The important late-15th century frieze showing the labours of HerculesMalcolm Bull, The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods, Oxford UP, 2005, is still visible. The castle seen from the hospital parking lot.

The long narrow hall includes mosaicked floors in alternating marble tiles (in black and white), a roof with ornamental friezes and square pillars along the walls, also decorated in sculpted wood. The room itself is painted in ochres, golds and reds, with brass fixtures intermingling with sculpted red woods. Between the pillars are mirrors, while at the far end of the café is a clock encased in a wooden decoration. The counter, is located on the right wall of the entranceway, while a staircase provides access to the kitchen located in the basement.

Grafton Manor, home of the Catholic Talbot family, holding leading military posts in Worcestershire's Royalist forces in the Civil War By the end of the Middle Ages, Bromsgrove was a centre for the wool trade. Manufacture of cloth, particularly narrow cloth and friezes is first recorded in 1533. Nailmaking was probably introduced in the region in the sixteenth century and was taking place in Bromsgrove in the seventeenth century. It provided an alternative trade for the rural poor, who would initially have supplemented other work with the nail trade.

The Castellani Painter was an Attic vase painter of the black-figure style active in the second quarter of the sixth century BC. The Castellani Painter is especially well known for his drawings on Tyrrhenian Amphorae, of which he is considered the most significant painter. His work is distinguished by the use of a vegetal frieze above to animal friezes, as well as by his humorous depictions of large-headed humans and mythical creatures. His conventional name is derived from his name vase, once held in the Castellani Collection.

On a pedestal by the second column in the nave on the Evangelist side there is a 1527 Kersanton stone version of Ecce Homo, whilst in a corner of the choir on the Epistle side there is a wooden statue depicting Saint Pithère, one of many statues of the saint in the church. The friezes completing the decoration of the church's side porch date to 1610. Other statues include those of Saint Mélar, Saint Roch, Saint Sébastien and Saint Yves. There are also wooden statuettes of Saint Joseph, Saint Etienne, Saint Eloi and Saint Herbot.

Minor Basilica of Saint Sebastian, the south side. The basilica is in the form of a Latin cross with a large central nave with a barrel vault adorned with friezes, rosettes and stucco. The interior space is divided into three naves by means of strong pillars carrying large arches embellished by twin pilasters. The central nave is about 25 meters long from the inner entrance to the transept, 16 meters wide and 23 meters high, and both visually and acoustically constitutes the main architectural feature of the building.

Ethnicities of the Empire, on the tomb of Darius I. The nationalities mentioned in the DNa inscription are also depicted on the upper registers of all the tombs at Naqsh-e Rustam, starting with the tomb of Darius I. The ethnicities on the tomb of Darius further have trilingual labels over them for identification, collectively known as the DNe inscription. One of the best preserved friezes is that of Xerxes I. The nationalities mentioned in the DNa inscription are also depicted on the upper registers of all the tombs at Naqsh-e Rustam, starting with the tomb of Darius I, as a group of 30 soldiers of the Empire in their native clothing and bearing weapons, supporting the platform on which the Emperor stands for his devotions to Ahuramazda.The Achaemenid Empire in South Asia and Recent Excavations in Akra in Northwest Pakistan Peter Magee, Cameron Petrie, Robert Knox, Farid Khan, Ken Thomas p.713-714 One of the best preserved friezes is that of Xerxes I. All of the 30 soldiers on the tomb of Darius further have trilingual labels over them for their ethnic identification, known collectively as the DNe inscription (Darius Naqsh-e Rustam inscription "e") in scholarly works.

The Bharhut stupa, depicted on one of the friezes. Freer Gallery of Art The Bharhut stupa may have been first built by the Maurya king Ashoka in the 3rd century BCE, but many works of art, particularly the gateway and railings, were apparently added during the Shunga period, with many reliefs from the 2nd century BCE, or later. Alternatively, the sculptures made have been added during the reign of the Sughanas, a northern Buddhist kingdom. The central stupa was surrounded by a stone railing and four Torana gates, in an arrangement similar to that of Sanchi.

The sub-surface areas of the station are finished in biscuit-coloured tiles lined with red friezes. Holden's designs emphasised functionality combined with balanced geometry and the use of modern materials, especially glass and reinforced concrete. The historical significance of the station is emphasised by its involvement in the World War II blitz. Unlike others on this extension, the station was not previously nationally listed as of special architectural interest but in August 2008 an application was made to English Heritage for a listing recommendation and in January 2010 the station was listed as Grade II.

His style continued to evolve, showing now friezes of figures isolated against vast empty backgrounds. "His great Sicilian altarpieces isolate their shadowy, pitifully poor figures in vast areas of darkness; they suggest the desperate fears and frailty of man, and at the same time convey, with a new yet desolate tenderness, the beauty of humility and of the meek, who shall inherit the earth."Langdon, p.365. Contemporary reports depict a man whose behaviour was becoming increasingly bizarre, which included sleeping fully armed and in his clothes, ripping up a painting at a slight word of criticism, and mocking local painters.

Typical in Piero's work, this solemn, static, languid, and realistic pose has an innate sense of balance. The serious and thoughtful face looks out from the frame, whilst the throat is modeled anatomically on classical sculptures and the friezes with palmettes in the background on classical motifs. The clear light almost cancels out the shadows, without diminishing the volume and three-dimensionality of the body. These stylistic elements place the work close to the artist's True Cross frescoes in Arezzo, particularly that work's Death of Adam scene which includes a boy leaning on a club in a similar pose to that of Hercules.

In between the two eaves are the well chiseled miniature decorative towers (aedicula) on pilasters. Below the second eaves are the wall panel of images of Hindu deities and their attendants in relief.Foekema (1996), p 28 Below this, at the base, are the six equal-width rectangular moldings (frieze). Starting from the top, the friezes depict hansa (birds) in the first frieze, makara (aquatic monsters) in the second, epics and other stories in the third (which in this case is from the Hindu epic Ramayana and stories of Krishna), leafy scrolls in the fourth, horses in the fifth and elephants at the bottom.

There are areas that conserve parts of friezes with images drawn in white over a black background, especially in the upper parts of the walls. Images of saints appear on the spaces between the arches, which are drawn to simulate sculptures contained in niches with Plateresque columns and topped with shells. In one corner, there is a seated figure of a sainted pope, whose face and eyes are well done. Most of the rest of the paintings are narratives, but most of the work has been partially or fully lost, and those that remain are not in good condition.

The interior of the building is decorated with marble paneling and artworks, including mosaic friezes by Gustav Klimt (designed by Klimt and carried out by Leopold Forstner) and murals by Ludwig Heinrich Jungnickel.The Renaissance Society, Modern Austrian Painting The integration of architects, artists, and artisans makes Stoclet Palace an example of a Gesamtkunstwerk, one of the defining characteristics of Art Nouveau. Klimt's sketches for the dining room are in the permanent collection of the Museum für angewandte Kunst (MAK) in Vienna. The Stoclet Palace is on Avenue de Tervueren/Tervurenlaan in the municipality of Woluwe-Saint-Pierre in Brussels.

Initially the Persses converted the distillery to a woollen mill, which was known for producing excellent friezes. However, when their lease on the nearby Newcastle Distillery expired in 1846, they moved their distilling operations at the Nun's Island complex, and re-established the site as a distillery. In 1886, the distillery was visited by British historian Alfred Barnard, as recounted in his seminal publication "The Whiskey Distilleries of the United Kingdom". Barnard noted that at the time of his visit Nun's Island was the sole distillery operating in Connacht, and had an output of about 400,000 gallons per annum.

The earlier phases of the Pyramid of the Magician were constructed in the Puuc style: rather bare on the lower part and very ornate at higher levels. Early Puuc architecture included roof crests, inclined friezes, and an absence of mosaic decoration. Later Puuc styles were marked by the use of limestone in construction, often with smooth wall surfaces; plaster (stucco) finishes; masks and other representations of the rain god Chaac; and the prevalence of styling along horizontal lines. The sides of the pyramid were once thought to be adorned with different colored stucco, each color representing a direction.

The nave is covered by a barrel vault, separated from the presbytery by a depressed arch with a Jesus's monogram in its center, and floral motifs at the sides. The left aisle leads to the sacristy, formerly used as a women's gallery, being accessible directly from the Villa. It underwent restorations, particularly of the five niches with murals consisting of faux marble friezes with archways in turn decorated with golden stars. These niches contain two wooden statues of the Virgin and Child and Saint Joseph, and a crown and a scepter with the palm leaves of martyrdom in reference to saints and martyrs.

The form of the building is predominantly tall and angular except for the curved fascia over the corner entrance and the curved arch forms adorning the elevations at the top of the building. The angular form is accentuated by low relief horizontal banding and stepping in the facade, creating depth and shadows. Geometric friezes, stylized capitals, wrought iron balconies and fluted vertical elements provide further interest. The verticality and symmetry of the building are its defining characteristics, with the angular towers typifying skyscraper architecture of the period, with a clear reference to Manhattan, New York, where the Astor family lived.

In the 1980s the rail approaches to the station were redeveloped as a major supermarket opened in December 1982, and the station itself is used as a pedestrian passageway to and from the city; there are a number of small shop units in the former station buildings. The Victoria Art Gallery, a free public art museum and library was built between the Guildhall and Pulteney Bridge. It was designed by John McKean Brydon. The exterior of the building includes a statue of Queen Victoria, by A. C. Lucchesi, and friezes of classical figures by George Anderson Lawson.

Between the 9th and 11th centuries, two basilicas were erected on the ruins of the old church, the first dedicated to Our Lady of the Assumption and the second, the cathedral, to Saint Justus (San Giusto). The original design of the latter building was subsequently lengthened. In the 14th century, the two basilicas were joined by means of the demolition of one nave of either basilica and the construction of a simple asymmetrical façade, dominated by a delicately worked Gothic rose window, as ornate as the new bell tower, using the Romanesque debris stones found on the site and friezes of arms.

Daphne Mayo is one of Australia's best known sculptors, responsible for many significant works such as the pedimental relief on Brisbane City Hall, the friezes and capitals on the Brisbane Tattersalls Club and the bronze doors for the State Library of New South Wales. She was born in England in 1895 and came to Brisbane in her childhood. The statue on the Booval War Memorial is attributed to Mayo as the memorial was constructed during this time and bears a strong resemblance to a model made by her. The statue is of a style repeatedly used by Williams.

In between the two eaves are the miniature decorative towers (Aedicula) on pilasters. Below the second eaves are the wall panel of images of Hindu deities and their attendants in relief.Foekema (1996), pp28-29 Below this, at the base are the six equal width rectangular moldings (frieze). Starting from the top, the friezes depict; hansa (birds) in the first frieze, makara (aquatic monsters) in the second, epics and other stories in the third (usually from the Hindu epic Ramayana, the Mahabharata, and stories of Krishna), leafy scrolls in the fourth, horses in the fifth and elephants in the sixth (bottom frieze).

142 Collins Street is located in Hartford's Asylum Hill area, on the north side of Collins Street east of its junction with Summer Street, opposite the main complex of The Hartford Insurance Group. It is a 2-1/2 story brick structure, with a truncated hip roof and numerous projecting gables and dormers. The front facade has porches on the first and second levels, the upper one occupying only the central bay; both have decorative spindled woodwork friezes and turned supports. A projecting gable section to the right is finished with scalloped shingles, and has a two-window angled bay.

Paintings, pediments, and friezes decorate the Capitol's interior. A prime attraction is a series of murals painted by Thomas Hart Benton in the House Lounge. The grand staircase is flanked by large heroic bronze statues of Meriwether Lewis and William Clark, and the third-floor rotunda is the site of the Hall of Famous Missourians, a group of bronze busts of many prominent Missourians honored for their achievements and contributions to the state. The structure also features a whispering gallery high within the dome; a small viewing platform is on the dome's roof beneath the statue of Ceres.

Situated in an urban area, alongside the old regional road into the town of Vila Franca, the convent is sited on a gentle hill and adapted to the slopes. The southern lateral terrace has a view to the sea, and islet of Vila Franca, while the body of the convent and church align parallel to the coast. A rectangular plan, the single-nave church and chapel, which is lower and straight, includes a left lateral belltower, that extends into the convent. These exterior surfaces are plastered and painted white, with the corners, frames, friezes, pillars and cornices are in simple basalt stone.

The City Hall station was distinctive in that it instead contained vaulted ceilings with Guastavino tile. The station walls were made to slightly different designs in each station. The lowermost portion of the walls were either Roman brick or marble, above which was wainscoting; the rest of the walls were then made of white glass or glazed tile. At the top of each station's walls were friezes, interspersed with plaques signifying the street name or number, as well as plaques with a symbol that is associated with a local landmark or another object of local significance.

The central window is larger and flanked by two vertical friezes. The lateral panels are plastered and painted in white, corresponding to the northern bell-tower, and a false bell-tower to the south, marked by a belfry in mortar, painted to imitate stonework. Three doorways access the building: the larger central door occupies the main facade, with two lateral doorways underneath the real and false belfreys. The rectangular false belfry door is inset from the facade, and surmounted by a rectangular oculus, while the lattice-door under the real belfry (with similar rectangular frame) sits flush on the facade.

The floor closely matches the original floor of the patio, and was produced in the same quarry as the stone of the patio. The Flemish tapestry The Triumph of Fame hangs on the patio's east wall. Upon the museum's acquisition of the tapestry, it held two temporary exhibitions simultaneously within the patio, beginning on May 12, 2000. "The Forgotten Friezes from the Castle of Vélez Blanco" displayed six of ten 20-foot-long reliefs from the same castle, which were discovered at the Musée des Arts Décoratifs in Paris in 1992; the exhibit ran until February 2, 2003.

The matronei (galleries) over the aisles support the vaults but preclude clerestory windows. The third central span, on the left, houses the 12th century Romanesque ambon or pulpit, built on a pre-existing 9th century one; which utilizes as a base a 4th-century Roman sarcophagus, traditionally known as the Sarcophagus of Stilicho. It has nine small columns with decorated capitals and friezes, featuring animal and human figures, as well as vegetable and fantastic motifs. The front of the ambon is decorated by two gilt copper reliefs, depicting the symbols of two evangelists, Saints Matthew (praying man) and John (eagle).

In ancient Roman and ancient Greek architecture acanthus ornament appears extensively in the capitals of the Corinthian and Composite orders, and applied to friezes, dentils and other decorated areas. The oldest known example of a Corinthian column is in the Temple of Apollo Epicurius at Bassae in Arcadia, c. 450-420 BC, but the order was used sparingly in Greece before the Roman period. The Romans elaborated the order with the ends of the leaves curled, and it was their favourite order for grand buildings, with their own invention of the Composite, which was first seen in the epoch of Augustus.

The structure alternately shows variations in the use of the carved lobes, concave cornices, the large number of pendants, false aprons and backs. The curved frieze that surrounds the large window and divides the body refers is an element of the Estado Novo era, with an inscription alluding to the patron. The hermitage consists of a polygonal plan with nave and left-hand bell-tower, with articulated volumes and differentiated spaces with tiled roofs. The facades are plastered and painted in white, with stonework running throughout, flanked by pilastered wedges, and rectangular plinths, topped with friezes and cornices.

The main facade (which is oriented to the west) is decorated with a gable, cut and ornamented in spiral decoration, surmounted by cornices and Latin cross over double plinths. The main portal in a polylobial arch, includes several frames, flanked by two orders of pilasters and two columns built into the wall, surmounted by friezes over rectangular plinths. These plinths include inferior plinths supporting fragments of the portico and superior plinths with angular cornices, that extend until the corners, and pinnacles similar to balustrades. Between the portal and corners, are small backrests with the Portuguese shield.

They were further decorated with green, yellow, and brown ceramic pieces. This feature is seen in several churches in Messembria, including the Church of St John Aliturgetos and the 14th century Church of Christ Pantocrator—which had rows of blind arches, four-leaved floral motifs, triangular ornaments, circular turquoise ceramics, and brick swastika friezes running along the external walls. Every church in Tsarevets—over 20—and many of the 17 churches in Trapezitsa were decorated with similar techniques. A rectangular belfry above the narthex is a typical characteristic of the architecture of the Tarnovo Artistic School.

The palace is situated in an urban location, occupying the entire block marked by a very sharp drop. The L-shaped building is divided into two volumes, a northern and eastern wings, topped in roofing tile. The principal elevation, in the north, is characterized by a succession of wall, doors with access to the patio and top of the northern wing, delimited laterally by granite cornerstones. Above are two floors divided by cornice and separated by friezes, animated by the decorated windows on the ground floor and others with rounded windows and iron grade along the second floor.

Properzia de' Rossi was born in Bologna daughter of a notary named Giovanni Martino Rossi da Modena. As a woman of the Renaissance, she studied painting, music, dance, poetry, and classical literature, and studied drawing under Marcantonio Raimondi. Undecided in her youth as to which outlet of self-expression she wanted to pursue, she found her direction when she tried her hand at sculpture, creating small but intricately detailed works of art on apricot, peach, and cherry stones. The subject of these small "friezes" was often religious, with one of the most famous being a Crucifixion in a peach pit.

The frescoes in the church are relatively well preserved and are an important source for the development of the late medieval painting in Bulgaria and the Balkans. The church was constructed in the 16th century. The frescoes were painted in 1598 as seen from the ktitor inscription in the western side of the naos with funds of rich people from the village. The decorative system of the frescoes is with traditional medallions with depictions of Jesus Christ on the vault, friezes of medallions with saints and prophets and full-length portraits of saints under the arcade.

Beacon Theatre, also known as the Broadway Theatre and Pythian Lodge, is a historic theatre building located at Hopewell, Virginia. It was built in 1928, and is a three-story, vaudeville and movie theater with storefront commercial space, second-floor apartments and third-floor meeting space. It has Colonial Revival and Art Deco style details. The building features decorative bands of flush brickwork punctuated with rectangular cast-stone corner blocks and cast- stone detailing in the parapet coping; the theater is adorned with classical plaster friezes, an elaborate proscenium, and a cove ceiling in the auditorium.

Walker is best known for her panoramic friezes of cut-paper silhouettes, usually black figures against a white wall, which address the history of American slavery and racism through violent and unsettling imagery.Kara Walker Solomon R. Guggenheim Museum, New York. She has also produced works in gouache, watercolor, video animation, shadow puppets, "magic-lantern" projections, as well as large-scale sculptural installations like her ambitious public exhibition with Creative Time called A Subtlety (2014). The black and white silhouettes confront the realities of history, while also using the stereotypes from the era of slavery to relate to persistent modern- day concerns.

Commemorating the New Zealand dead of World War I, and World War II. it was unveiled on Anzac Day (25 April) 1931 and is located on the intersection of Lambton Quay and Bowen Street, by the New Zealand Parliament Buildings. It features two wings decorated with relief sculptures and is topped with a bronze figure on horseback. Two bronze lions and a series of bronze friezes were later added in commemoration of World War II. On 18 March 1982, it was registered as a Category I historic place with registration number 215. It is a focus of Anzac Day commemorations in the city.

The calvary has suffered much erosion over the years, not surprisingly in view of its proximity to the sea and the sea's winds. This erosion does make some of the parts of the statuary difficult to interpret although it was restored in 2001. The calvary comprises a large rectangular granite pedestal or base which measures 4.50 m by 3.15 m. Around this base are two friezes on which are various sculptures, single or in groups, which recount some incidents in Jesus' life beginning with the Annunciation when the Archangel Gabriel tells the Virgin Mary that she is pregnant with Jesus Christ.

Below and above the jambs, and extending through the surrounding wall, forming friezes, blind respective series of ogival and trefoil pointed arches, that in the lower socket mounted on paired columns with vegetable capitals. This blind gallery of trefoils and columns underlies a complete Apostolate, consisting of statues in the round and almost life- size. Six are shown on each side, attached to the wall, and separated by the jambs. The three archivolts are garrisoned by reliefs of seraphim on the inside, thurifer angels in the middle, and scenes of the resurrection of the deads on the outside.

The rooms on the piano nobile (the first floor) have frescoes and friezes by artists such as Giacinto Gimignani, Gaspard Dughet, Andrea Camassei, Giacinto Brandi, Francesco Allegrini, and Pier Francesco Mola. Carlo Rainaldi, the son of Girolamo, completed the building around 1650. The new palazzo became the home of Innocent's widowed and unpopular sister-in-law Olimpia Maidalchini, who was his confidante and advisor and, more scurrilously, reputed to be his mistress. She was the mother of Camillo Pamphilj, the one time cardinal, who through his marriage came into the possession of the Palazzo Aldobrandini, now known as the Palazzo Doria Pamphilj.

It celebrated its eightieth anniversary in July 2011. It was designed and built by architect Ernest Charles Shearman, and houses an original painting (The Annunciation) by artist John Pelling, and two 1870 George Tinworth stone friezes entitled The Brazen Serpent and Descent from the Cross which were removed from Sandringham church and donated to St Gabriel's by The Royal Collection in 1930 following a construction appeal. Other points of interest include a high altar frontal used at the Coronation of Queen Elizabeth II, and a stone font originally located in Westminster Abbey, and still bearing carved stone symbols of the Abbey Church.

Olea Marion Davis (May 20, 1899 – 1977) (née Montgomery) was a Canadian artist and craftsperson who worked in architecture and decorative art as well as sculpture and pottery. Her sculptural and ceramic work was exhibited in Montreal, Toronto, Edmonton, as well as at the Brussel's World Fair (Expo '58) in 1958 and the Ostende International Show in 1959. Her architectural commissions include friezes, ornamental grills and screens, and lighting fixtures for locations such as the Hotel Vancouver and Pier B.C. in Vancouver, British Columbia. Her work is included in the permanent collection of the Canadian Embassy in Washington, D.C.

Due to the exposed nature of the site it has suffered some natural deterioration and weathering since the Magdelenian. This includes the formation of Moonmilk, freeze-thaw weathering, damage from vegetation, and the fact that it was used as a shelter by local shepherds at the moment of its discovery. The research on the friezes also contributed to the degradation of the site, as researchers scraped at the edges of the reliefs in order to redefine the edges. The archaeology of the rockshelter floor has also been disturbed due to its removal during successive archaeological excavations which were never consequentially published.

The former Royal Bank of Queensland is an imposing single-storey rendered masonry building with a pedimented temple front standing prominently to upper Mary Street in Gympie's central business area. The rendered masonry front fence forms a plinth to the building which is set back from the property boundary and raised above street level. The compact front elevation is dominated by a projecting pedimented portico which is framed by fluted corner pilasters and shelters a set of concrete stairs and a landing. The plain moulded pediments of the front elevation and portico rest on decorative entablature friezes.

The verandah is interrupted by a central, projecting gabled classroom and either side of this is an attached pair of timber-framed and -clad teaching rooms. Surmounting the centre of the roof is a square-based spire and along the ridge are timber- framed, ventilated dormer windows. The brick walls of the building stand on Brisbane tuff footings and the timber-framed portions stand on concrete posts or brick piers. The building features highly crafted, decorative brickwork including: running corbel friezes under the eaves and gable barge boards; a variety of corbelled decorations; and lancet niches.

Early Coptic buildings contain elaborate and vigorous decorative carving on the capitals of columns, or friezes, some of which include interlace, confronted animals, and other motifs. These are also related to Coptic illuminated manuscripts and fabrics, and are often regarded as significant influences both on early Islamic art, like the Mshatta facade and on the Insular art of the British Isles (which appears to have been in contact with Coptic monasteries).Hugh Honour and John Fleming, A World History of Art, 1982, Macmillan, London, p. 259 From Insular art these motifs developed into European Romanesque art.

In 1526 the arch which formed the entrance to the Forum was demolished by the maestri di strade, Rome's Commissioners of Streets, which caused the Conservatore Francesco Cenci to submit a report to Rome's municipal government seeking redress for the destruction. Vestiges of the arch were found later in the century, including friezes which depicted scenes from the Dacian Wars, according to the descriptions of Flaminio Vacca. In modern times only a section of the markets and the column of Trajan remain. A number of columns which historically formed the Basilica Ulpia remained on site, and have been re-erected.

The former Hose and Hook and Ladder Truck Building stands in a prominent location in central Thomaston, between the town hall/opera house and Trinity Church, two other architecturally distinguished buildings. It is a -story brick structure with granite trim, and a prominent Venetian-style tower with a pyramidal roof. It is basically symmetrical except for the tower, with vehicle bays flanking a pair of pedestrian entrances, which share a protective portico with Victorian arched friezes and spindled woodwork in the gable above. Brick pilasters articulate the elements of the building's second floor, with matching gabled projections above the vehicle bays.

When it opened the theatre had a seating capacity of 1,100. The theatre and arcade feature a number of bas relief friezes of dancing girls and 'Atlas type' figures which were moulded by Perth sculptor Edward Kohler. Kohler was the second professionally trained sculptor to practise successfully in Western Australia. Piccadilly Theatre and Arcade remained under the ownership of Piccadilly Arcade Pty Ltd until 1978, when it changed hands a few times. In 1983, the owners Australian Fixed Trust (Permanent Trustee Nominees, Canberra) made a decision to restore Piccadilly Theatre and Arcade, and it was closed for refurbishment.

Garrett undertook private study with the artist Thorpe Feidt and studied drawing at the Art Students League in New York City. Dance and movement inform Garrett’s work to this day: In an artist talk for the Parrish Art Museum, Garrett explained, "A lot of my painting is influenced by my background as a dancer. I see line as movement. I’m interested in the musicality of a piece — I almost see [artworks] choreographically." Other influences include music, the natural environment (particularly the one surrounding Garrett’s studio, which is located on a beach), calligraphy and even Italian friezes.

The upper levels and terrace of the Konark Sun temple contain larger and more significant works of art than the lower level. These include images of musicians and mythological narratives as well as sculptures of Hindu deities, including Durga in her Mahishasuramardini aspect killing the shape-shifting buffalo demon (Shaktism), Vishnu in his Jagannatha form (Vaishnavism), and Shiva as a (largely damaged) linga (Shaivism). Some of the better-preserved friezes and sculptures were removed and relocated to museums in Europe and major cities of India before 1940. The Hindu deities are also depicted in other parts of the temple.

Aphrodisias Stone heads. Unknown Roman matrona, 2nd century AD. from Aphrodisias, now presented in Istanbul Archaeological Museum Sarcophagus on site The first formal excavations were undertaken in 1904-5, by a French railroad engineer, Paul Augustin Gaudin. Some of the architectural finds (mostly friezes, pilasters and capitals) he discovered at the site are now in the British Museum.British Museum Collection The most recent, ongoing excavations were begun by Kenan Erim under the aegis of New York University in 1962 and are currently led by Professor R. R. R. Smith (at Oxford University) and Professor Katharine Welch of the NYU Institute of Fine Arts.

With fine sculptures under English migrant sculptor Raynor Hoff's direction, its symbolism departed from neo-classical forms used in many war memorials and incorporated symbols special to Australia - such as the rising sun and figures of brooding servicemen- which gave the monumental strength to the large granite sculpture. Its modernity and the emphasis (sculpture and friezes) on women, made it controversial. Photographer Harold Cazneaux depicted its new setting, "Pool of Reflection" and lines of then Lombardy poplars (Populus nigra 'Italica') in 1934. A 1930 photograph shows mostly only small trees in the park with the Hills fig avenue newly planted.

Aiyanar (), guardian folk deity of Tamil Nadu Among the ancient Tamils the practice of erecting memorial stones (natukal) had appeared, and it continued for quite a long time after the Sangam age, down to about the 16th century. It was customary for people who sought victory in war to worship these hero stones to bless them with victory. They often carry inscriptions displaying a variety of adornments, including bas relief panels, friezes, and figures on carved stone. The most important Tamil festivals are Pongal, a harvest festival that occurs in mid-January, and Varudapirappu, the Tamil New Year, which occurs on 14 April.

The southeast bay has a textured glass panel in place of a similar image which was originally located there. Aberfoyle has ornate pressed metal ceilings and cornices, woodgraining to internal doors with fretwork panels above, and stencilled friezes, with a portion of the original frieze surviving intact in the entry foyer. Internal walls are lined with vertically jointed boards, and some early changes involving doorways and partition walls are evident in the fabric. The entry foyer has an arched timber opening to the narrower hall beyond, and the two middle bedrooms have early linoleum floor coverings.

Friezes carved in the two-plane relief manner of Lombard Comacine masons, of foliate scrolls with animal heads, inhabited with human and animal figures, relieve the masonry walls. The ceiling vaults glitter with mosaics of tesserae of gold leaf under glass, embedded with moulded stars and showing the constellations of the Zodiac. The floor is inlaid with various colored marbles in the Cosmatesque manner. At the far end a giant mosaic panel gives a bird's-eye view of Breuckelen with Manhattan in the distance beyond and the Williamsburgh Savings Bank Tower illuminated in a shaft of sunlight.

Details of the ornamental works, their sizes and proportions are lost in the intervention. According to conservationist architects, friezes and other ornamental features of the old buildings are replaced with dissimilar and odd-looking features. Details of the ornamental works, their sizes and proportions are lost in the intervention. Though the Bangladesh National Building Code (BNBC), the Metropolitan Building Rules of 2006 (revised in 2008) and the Antiquities Act of 1968 require the government to take measures and institute a standing committee to protect the heritage sites, the government has all along been idle on the issue.

La cappella With the extensive redesign and renovation in the eighteenth century, many of the original chapels in the Villa were lost. Today, only the Chapel of the Annunciation remains which the architect Giuseppe Cacialli included as part of the 1820 neoclassical renovation. The design of the chapel is divided into three naves with a semicircular tribune. The redesign preserved the pre-existing eighteenth century decorations and embellishments which included statues of the Virtues in separate niches, as well as stucco friezes depicting biblical scenes on the walls and ceiling dome in tempura depicting the Assumption of the Virgin by Francesco Ninci.

Hispano-Moresque ware is well represented by 13th and 14th centuries pieces decorated in green and manganese, lusterware, or other with white stanniferous enamel or cobalt blue luster. These types of Muslim ceramics gave way to the technical basics of 15th century Spanish pottery and Christian production. The Gonzalez Martí collection shows works from different places, mainly Italian and Spanish productions. There are medieval architectonical pieces from diverse Valencian palaces and headquarters, such heraldic shields or floor tiles (orders made by aristocracy or institutions) and socarrats, destined to interior ceilings, terraces friezes, stairs or other places.

The headstone, in the shape of a coffin, is also Grade II-listed and commemorates other members of her family. Actress and singer Anna Maria Crouch has an elaborate, Grade II-listed, Coade stone table tomb with a carved memorial tablet, friezes with foliage patterns and Vitruvian scrolls, putti and a Classical-style urn. Phoebe Hessel (1713–1821) lived to 108, posed as a man and fought as a soldier for 17 years so she could be with her army husband, and later retired to Brighton where she made a living selling goods on a street corner.

The remaining west wing retains its pedimented gateway, which sheltered, in a niche at first floor level, an equestrian statue of Galiot de Genouillac. The courtyard frontage is decorated with two broad friezes, richly carved with emblems referring to the military achievements of Galiot de Genouillac, and to the legend of Hercules. Inside, a grand staircase, vaulted on intersecting ribs, leads up to a marble pillar, decorated with "grotesques", which is thought to be the work of Jean Goujon or one of his pupils. The interior comprises a series of vaulted rooms, decorated with martial trophies, and containing a small museum.

Little is known of the life and work of this painter, though he was highly admired in his lifetime. He was probably born in Bologna in the second half of the fifteenth century, from which the artist must have left at a fairly young age to travel to Rome during the pontificate of Pope Alexander VI, to study the ancient remains. His great interest in Roman antiquity led him to detailed observation of Trajan's column, which he documented precisely using a viewing device to observe the detail of farthermost friezes. This apparatus caused a great deal of discussion and made Ripanda famous.

Subsequently leaned against the front of the Carmelites convent on the opposite side of the road, and long believed to have been lost during the demolition works, the fountain has been found in the municipal storerooms.Federico (2016),p. 273 Up ahead, on the north side, at the n. 46, Buto, a doctor active during the reign of Paul III, let erect a palazzetto whose façade was adorned with the busts of Galenus and Hippocrates and on the friezes of the three windows at the piano nobile bore the inscription "DEO, PAULO ET LABORIBUS" ("To God, Paul (III) and (my) works"); Gigli (1990) p.

The works were sought after by private collectors, as well as government institutions as gifts for overseas recipients such as General de Gaulle during his visit to Poland. His subject matters ranged from mythology, glazed allegories, monumental figurative compositions, abstract friezes, as well as themes of destruction and suffering like Hiroshima, Auschwitz and Katyn. Apart from ceramics and porcelain, Nowosielski painted landscapes, still lifes, abstracts and popular scenes from everyday life. Towards the end of his life, his painting technique adopted plasticity and an almost three-dimensional character of ceramic material, somehow translating the language of ceramics into oil and acrylic mediums.

The walls of the palace, but specifically the northern chamber attached to the west iwan, were decorated with painted stucco on the upper sections and on the lower sections, the dado, with elaborate luster tiles in the lajvardina technique. These tiled designs consisted mostly of stars and similar geometric shapes and also included heroic figural imagery. There were also friezes across many walls with similar geometric and figural designs in addition to inscriptions. The muqarnas and luster tiles, as well as the painted stucco walls, all demonstrate the importance of lavish decoration of Ilkhanid architecture, especially with palatial structures.

Regatta Hotel, circa 1940 Western elevation with fire stairs, 2014 The Regatta Hotel, located on a prominent site adjacent to the Toowong Reach of the Brisbane River, is a brick building with hipped corrugated-iron roofs. Composed of three storeys and a basement, it is encircled by wide verandahs, except for a section on the southern side. The verandahs to the rendered street facades display a lavish use of cast-iron balustrading, paired cast-iron Corinthian columns and cast-iron and timber friezes. These facades, which curve around the street corner, are surmounted by a solid masonry parapet ornamented by masonry finials.

Projections and recessions and their effects of light, and shade are flatters; sculptural bas-reliefs are flatter and tend to be enframed in friezes, tablets or panels. Its clearly articulated individual features are isolated rather than interpenetrating, autonomous and complete in themselves. International neoclassical architecture was exemplified in Karl Friedrich Schinkel's buildings, especially the Old Museum in Berlin, Sir John Soane's Bank of England in London and the newly built White House and Capitol in Washington, DC in the United States. The Scots architect Charles Cameron created palatial Italianate interiors for the German-born Catherine II the Great in St. Petersburg.

The remains of Basilica Aemilia. A new edifice in substitution of the Basilica Fulvia was begun in 55 BC by Lucius Aemilius Lepidus Paullus, and inaugurated by his son in 34 BC. This edifice had similar lines to the preceding one; however with a reduced length and a second nave in lieu of the back portico. The columns in the central nave, in African marble, had Corinthian capitals and friezes with deeds from the history of Republican Rome. The columns in the second row were in cipolline marble and, finally, the external ones had Ionic capitals.

The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief. High-relief deities at Khajuraho, India Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE).

The theatre was damaged by fire in 1892 and enlarged in 1908, from which time it was continuously under the management of the Dorrill family until 1972. The facade The present building dates from 1933 and was designed by Milburn Brothers with an art deco interior by T.P. Bennet and Sons. The colour scheme was originally in shades of deep brown with gilt friezes but in later years (circa 1980?) a multi-colour scheme was introduced, which did not reflect the original design. There has been a theatre on the corner of George Street for almost 170 years.

From the Byzantine empire, goods arrived together with sculptures, friezes, columns and capitals to decorate the fondaco houses of patrician families. The Byzantine art merged with previous elements resulting in a Venetian-Byzantine style; in architecture, it was characterized by large loggias with round or elongated arches and by polychrome marbles abundance. Along the Grand Canal, these elements are well preserved in Ca' Farsetti, Ca' Loredan (both municipal seats) and Ca' da Mosto, all dating back to the 12th or 13th century. During this period Rialto had an intense building development, determining the conformation of the Canal and surrounding areas.

Brinkmann grew up in Gauting, southwest of Munich, and studied Classical Archeology in Munich and Athens. In 1987 he earned his doctorate under Volkmar von Graeve in Munich with his work "Observations to the Formal Structure and the Meaning of the Friezes of Siphnierschatzhauses". He worked as a curator at the State Collection of Antiquities and the Glyptothek in Munich, and finished his habilitation in Bochum in 2001. Since 2007 he has headed the antiquities collection of the Liebieghaus sculpture collection in Frankfurt and continues to teach at the Institute of Archaeological Sciences at the University of Bochum.

The Lee Plaza Hotel is a 15-story, "I" plan, steel and reinforced concrete structure, faced with orange glazed brick, with a steeply pitched roof originally covered in red tile (later replaced with copper, which has been since stripped). The first story of the building is forms a terra cotta clad base with molded Palladian windows, from which prominent brick piers rise to the roof, forming strong vertical lines. Decorative details are inset in the form of terra cotta belt courses, spandrel plaques, corbelled friezes and window surrounds. The interior contains 220 one to four room apartments.

Vedic deities such as Surya riding the chariot with Aruna, Indra on elephant and others are carved in stone. A few depict scenes from the Ramayana such as those involving golden deer, Hanuman, Sugriva, Vali, Ravana and Jatayu bird, Sita being abducted, the struggles of Rama and Lakshmana. Other friezes show scenes from the Mahabharata, Krishna's playful life story in the Bhagavata Purana and the Harivamsa as well as fables from the Panchatantra and other Hindu texts.John Stratton Hawley (1987), Krishna and the Birds, Ars Orientalis, The Smithsonian Institution and Department of the History of Art, University of Michigan, Vol.

The former is depicted in various friezes using examples of the life story of Rama from the Ramayana, while the latter is expressed with images of Lakulisha, Nataraja, Yoga, and numerous ascetics. Other imagery that is particularly prevalent at Pattadakal is that between Purusha and Prakriti, the soul and the matter, the masculine, and the feminine. The temples at Pattadakal are symbolic of the Chalukya inclination towards integration, and experimentation, resulting in a merging of the Northern and Southern Indian architectural styles. This is particularly evident when the architecture at Pattadakal, Aihole and Badami are viewed together.

It was established as a sacred burial site by the Zapotec, but the architecture and designs also show the influence of the Mixtec, who had become prominent in the area during the peak of Mitla settlement. Mitla is unique among Mesoamerican sites because of its elaborate and intricate mosaic fretwork and geometric designs that cover tombs, panels, friezes, and even entire walls of the complex. These mosaics are made with small, finely cut and polished stone pieces that have been fitted together without the use of mortar. No other site in Mexico has this decorative work.

The lowest band shows marching elephants, above it are horses led by horsemen, then soldiers celebrated by the public, then dancers and musicians, with a top layer depicting a boisterous procession of the general public. The depiction mirrors the description of festivals and processions in surviving memoirs of Persians and Portuguese who visited the Vijayanagara capital. The inner walls of the temple has friezes containing the most extensive narration of the Hindu epic Ramayana. The temple has an entrance mandapa and a yajna ceremony hall, whose ceiling is designed to ventilate fumes and smoke through the roof.

The verandah awning on the ground floor has a thin gauge corrugated iron soffit and is supported on reeded cast iron columns and has a cast iron balustrade and pointed arched friezes which also feature a quatrefoil motif. The verandah on the floor above has square timber columns, cast iron balustrading and a timber boarded soffit. Centrally located on the ground floor verandah is a six panelled entrance door which is surrounded by rectangular transom window and sidelights of very fine stained glass panels from Munich. The entrance door opens onto a vestibule where access is provided to parlours on either side.

The Painter of Acropolis 606's name vase, a dinos, discovered at the Athenian Acropolis The Painter of Acropolis 606 (sometimes Painter of Athens 606) was a black-figure vase painter, active around 570–560 BC. His name vase is a dinos discovered on the Athenian Acropolis and now on display in the National Museum at Athens (inventory acr. 606). The vase is representative of the "new seriousness" which was then emerging in Attic painting. On its main frieze, it depicts a battle between warriors and chariots. R.M. Cook says: The subsidiary friezes are of animals, plants and horsemen.

The still distinct traditional impact of the Academism is noticeable in the treatment of the apertures and cornice. Richly decorated front façade of the house, with the friezes of the grape vine, floral wreaths twisted around the medallions, is one of the most interesting examples of implementation of the Vienna secession in Belgrade architecture from the beginning of the 20th century.Dr. D. Đuric – Zamolo: The Builders of Belgrade 1815–1914, Belgrade City Museum, 1981. The smallish canvas of the façade is conceptualized without standard Academic divisions of the space and presented an array of new stylish elements.

The upper orders of the corner towers were built between the 14th and the 15th centuries, while in the early Renaissance period the southern porch was added. The present neoclassical appearance dates from the work carried out over the two decades 1781 to 1801, supervised by Ferdinando Fuga and Giuseppe Venanzio Marvuglia. During this period the great retable by Gagini, decorated with statues, friezes and reliefs, was destroyed and the sculptures moved to different parts of the basilica. Also by Fuga are the great dome emerging from the main body of the building, and the smaller domes covering the aisles' ceilings.

The tower's pitched roof has sheet metal tiles in a fish-scale pattern, crowned by a pressed metal cornice, featuring decorative mouldings and lions heads. There is also a small central pediment motif above the eaves of the south face. It is this tower which imparts to the building its unusual Victorian Second Empire style. Of almost equal interest is the treatment of the remainder of this front, which includes fine panelled and patterned boarding, notched and bracketed barge boards, eaves soffits, scalloped friezes and a radiating design over the semicircular windows, decorated window lintels and a prominent "keystone", all done in cut and fretted timber.

Giovanni Guerra (1544–1618) was an Italian draughtsman and painter from Modena who worked in Rome, where he probably arrived in 1562,According to a vita written by F. Forciroli, c. 1618-20, noted in Stefano Pierguidi, "Giovanni Guerra and the Illustrations to Ripa's Iconologia" Journal of the Warburg and Courtauld Institutes 61 (1998, pp. 158-175) p. 160 and note 10. though he was not documented until 1583, when he frescoed three friezes of allegorical figures in the Palazzetto Cenci,The sixteenth-century Palazzetto Cenci, facing via del Arco de' Cenci, forms part of the complex of structures called the Palazzo Cenci (TCI, Roma e Dintorni 1965:250).

On the short-wheelbase chassis, the dashboard was polished machined aluminium; on the long-wheelbase chassis, it was replaced by mahogany varnished with inlaid cabinetry friezes on the dashboard and inlays on the strips below the windows. The two side windows could go down into the interior of the door and were operated by a strap as on the railway cars of the time. These windows could also be kept clipped in the high position when the hood was open. The windshield was in two parts, the upper part opens towards the front in order to give more fresh air and some visibility in case of heavy rain.

From 1922 until 1928 Castiglioni worked on the plaster casts for friezes and monumental sculptures for the Palacio Legislativo of Montevideo, Uruguay; these were shipped to Uruguay, and the bronze or marble sculptures were made there. In the Fascist era he worked on sculptures for war cemeteries and monuments to the dead of the First World War, including: the military memorial of Monte Grappa (1935) in the Veneto; the (1937) in the comune of Paluzza, Udine; the military ossuary of Caporetto, now Kobarid, Slovenia; and the war memorial of Redipuglia (1938) in the province of Gorizia. In 1941 he made the tomb of Pope Pius XI in the Vatican Grottoes.

The defining features of this old power plant were the slender chimneys, one in brick and one in iron, in an inverted conical stem shape. The north and south facades of the main nave, where the generators were located, were decorated in a similar fashion as other iron architecture structures such as train stations and markets, with modernist influences recently seen in Portugal. These were divided into three sections separated by pilasters, small cogged friezes that ran horizontally along them and, crowning the structure, a large broken pediment. The side sections displayed two bays: the smaller topped with a lintel and the larger finished with a low arch.

The basic structure of the building has not been much altered. Its decoration has changed greatly over time, though the overall impression of the interior with a dazzling display of gold ground mosaics on all ceilings and upper walls remains the same. The original unadorned structure would probably have looked very different, but it is likely that gradual decoration was always intended.Howard, 27 The succeeding centuries, especially the period after the Venetian-led conquest of Constantinople in the Fourth Crusade of 1204 and the fourteenth century, all contributed to its adornment, with many elements being spolia brought in from ancient or Byzantine buildings, such as mosaics, columns, capitals, or friezes.

The walls are covered by semi-columns, friezes and cornices of various styles. High altar The high altar in the apse is formed by a marble mensa with a tabernacle and flanked on each side by a statue of a kneeling angel. The half-dome above the altar was decorated by Giovanni Bevilacqua (early 1900s) and the fresco represents Christ triumphing over Paganism with the inscription "Vicit Leo de Tribu Iuda" (Book of Revelation 5:5) Fresco in the apse "Christ triumphing over Paganism" by Giovanni Bevilacqua When entering the church, one finds on the right the baptistery. The marble baptismal font came originally from the church of St Nicolò.

The friezes of the building's entablature were decorated on all sides with relief sculpture in the idealized classical style of the 5th century BC. The north frieze depicted a battle between Greeks entailing cavalry. The south frieze showed the decisive victory over the Persians at the battle of Plataea. The east frieze showed an assembly of the gods Athena, Zeus and Poseidon, rendering Athenian religious beliefs and reverence for the gods bound up in the social and political climate of 5th Century Athens. Some time after the temple was completed, around 410 BC a parapet was added around it to prevent people from falling from the steep bastion.

Rome, along with the rest of the Mediterranean world, experienced a resurgence of Greek culture, known as the Hellenistic period. Both the interiors and exteriors of mausolea adopted staples of Classical architecture such as barrel vaulted roofs; klinai, which were full body benches upon which the dead lay; painted facades; ornate columns; and friezes along the roofs. During this era, most Romans acknowledged the idea that above ground burial allows the public to better remember the deceased. Clearly in accordance with their embraces of tradition and virtues of the mos maiorum, Romans began to set aside money to build vast new mausolea for the preservation of their legacies.

In contrast, the artwork produced at Talleres de Arte was made according to the highest standards of craftsmanship and material. The finest sacred metalwork produced at Talleres de Arte was the richest then produced in Spain , embellished with repoussage, set gemstones, carved ivory figures, vitreous enamels, and medallions, figurines and friezes worked in metal. But Granda also believed that humbler objects, produced for churches and monasteries without wealthy patrons, although lacking the splendor of richness must never lack the dignity of beauty. He wrote that it has more value that a man venerate a statue of Tanagra clay than a shapeless gold sculpture of decadent art.

In the early 1990s, due largely to the research and interest of Shylie Brown and the Parramatta Branch of the National Trust of Australia (NSW), Lennox's house was made subject to a Permanent Conservation Order. The Commission of Inquiry in 1993, resulting from an objection to the making of that order, was the last occasion that any outsiders were permitted to inspect the property. Visitors from the previous decade recall that the ground floor was still in good condition with its very early, possibly original, wallpapers and friezes still extant. In the drawing room was a built-in Georgian style cabinet said to have been made by Lennox himself.

A bronze bust of James Wyatt and an artificial stone one of Edward Thurlow are in the collection of the National Portrait Gallery. The Prince Regent appointed Rossi his sculptor, and employed him in the decoration of Buckingham Palace, where he made chimneypieces, a frieze of the Seasons to his own design, and others friezes to the designs of John Flaxman. He also made sculpture for the Marble Arch, originally built as an entrance to the palace. When the planned height of the arch was reduced, some of Rossi's work became surplus to requirements, and was instead adapted for use on the new National Gallery.

Excavations have brought to light considerable remains of the ancient town, belonging entirely to the Roman period, and a good deal still remains unexplored. The traces of two ancient roads, paved with large blocks of stone, which led up to the city, may still be followed, and the whole summit of Monte Catalfano is covered with fragments of ancient walls and foundations of buildings. Among these may be traced the remains of two temples, of which some capitals and portions of friezes, have been discovered. An archaic oriental Artemis sitting between a lion and a panther, found here, is in the museum at Palermo, with other antiquities from this site.

This room (originally John Clerk Maxwell's business office when he practiced as an advocate in Edinburgh) contains wall displays celebrating Maxwell’s other major scientific achievements: his work on governors for machine speed control; Maxwell–Boltzmann distribution and his contribution to statistical physics; discovery of the form of Saturn's rings; contributing to the committee that defined the Ohm; reciprocal figures or frames for the design of structures such roofs and bridges. The final set of wall panels describes the friezes on his Edinburgh statue placing Maxwell’s contributions in context between Newton and Einstein. The library also contains a selection of books on Maxwell, Newton, Lord Kelvin, Michael Faraday etc.

The festive external appearance of the building is due to its Art Nouveau mouldings, intertwining decorations, elliptical attic and elegant bas-reliefs. The two front façades feature rich and original decor with pronounced manifestations of the Art Nouveau style: smooth curved lines repeated in window openings, balcony framings, and in the winding lines of the openwork ornament of balconies and friezes. Particularly expressive are the various forms and finishes of the attic, the platbands and the locks of window openings, plaster macaroons, niches with stucco decorations and other elements. The two entrances are decorated with vertical partitioning of the wall, complex parapets and large windows.

A milestone in the development of ancient Greek pottery due to the drawing style used as well as the combination of related stories depicted in the numerous friezes, it is dated to circa 570/560 BCE. The Francois Vase was discovered in 1844 (and 1845 - M.I.) in Chiusi where an Etruscan tomb in the necropolis of Fonte Rotella was found located in central Italy. It was named after its discoverer Alessandro François, it is now in the Museo Archeologico at Florence. It remains uncertain whether the krater was used in Greece or in Etruria, and whether the handles were broken and repaired in Greece or in Etruria.

Kleitas was detailed in his drawings especially with animal and human anatomy and when showing textiles making him a unique artist of his time. He engages his viewers by bringing variety to every image allowing the viewer to discover each figure differently each time. He pioneers the use of paired figures: particularly in the topmost friezes on each side, the boar hunt. The boat returning from Crete, he makes repeated use of figures who are side by side and engaged in similar actions so that one sees only part of the figure behind, which becomes a sort of shadow of the figure in the front.

24 and Qasr Ibn Wardan (564 CE). Some argue that it was used earlier in the Sassanian Taq-Kasra in Iraq. It was adopted immediately by the Islamic caliphates, with a form of it appearing in the Mosque of Amr ibn al-As in Cairo, the Great Mosque of Damascus (706-715 CE), Qasr al-Hayr al-Gharbi (727 CE), it appears in friezes in the ruins of Qasr al-Qastal and it is extremely prominent throughout the Umayyad palace at Amman Citadel in Jordan. Horseshoe and semicircular arches are the predominant type of arch used in the Umayyad desert castles in Jordan, Syria, and Lebanon.

It can also be found in numerous museums, art colleges and galleries in the world. Jacobo learned to carve from his father when he was twelve, and later was mentored by elders in his and other communities. While alebrijes designs have been innovative and incorporating modern elements, the Angeles family's designs focus on representations of Zapotec culture. This can be seen in the painted designs, based on influences such as the friezes of Mitla, and other ancient symbols as well as the continued use in aniline paints made from natural ingredients such as the bark of the copal tree, baking soda, lime juice, pomegranate seeds, zinc, indigo, huitlacoche and cochineal.

Built in the mid-1880s by Hispanic merchants who had prospered with the coming of the railroad, these represent an adoption of Anglo-American tastes and house design on the most refined and grand scale affordable. This house, like the others, has an overriding symmetry of massing, full front porch, centered entrance and center hall plan with four matching square rooms on each floor. The doors, windows and balustrades are stock elements shipped in over the railroad. The segmental molding window pediments, the stick and cut-out friezes, the boxed chamfered posts and the concentration of those posts to mark the centered entrance show the hand of a local builder.

Designed by Jean Omer Marchand and John A. Pearson, the Centre Block is a long by deep, and six storey high, symmetrical structure built in the modern Gothic Revival style. As such, it displays a multitude of stone carvings, including gargoyles, grotesques, and friezes, keeping with the Victorian High Gothic style of the rest of the parliamentary complex. The walls are faced with more than 50,000 blocks of over 24 different types of stone, though a rustic finished Nepean sandstone is the predominant kind of masonry, with dressed stone trim around the 550 windows and other edges. The roof is of reinforced concrete covered with copper, and dotted with dormer windows.

Rampurva bull capital, India, 3rd century BC From the 5th century, palmettes tended to have sharply splaying leaves. From the 4th century however, the end of the leaves tend to turn in, forming what is called the "flame palmette" design. This is the design that was adopted in Hellenistic architecture and became very popular on a wide geographical scale. This is the design that was adopted by India in the 3rd century BC for some of its sculptural friezes, such as on the abaci of the Pillars of Ashoka, or the central design of the Pataliputra capital, probably through the Seleucid Empire or Hellenistic cities such as Ai-Khanoum.

The sub-surface areas of the station were tiled in biscuit coloured tiles lined with blue friezes (refurbished in 2005). When first constructed, the station was equipped with nine street level entrances, two of which gave access to tram routes to and from Tottenham, Edmonton and Stamford Hill via tramway island exits into Seven Sisters Road. The last of these tram services were withdrawn in 1938 and replaced by trolleybuses and the exits were removed in 1951. The station tunnels have, in common with those of Turnpike Lane and Wood Green, a diameter of 23 feet (7 metres) and were designed for the greater volume of traffic expected.

Carvings of hippogryphs clearly show the adroitness of the artists who created them.A Concise History of Karnataka, pp 183, Dr. S.U. Kamath The Mandapas are built on square or polygonal plinths with carved friezes that are four to five feet high and have ornate stepped entrances on all four sides with miniature elephants or with Yali balustrades (parapets).An imaginary beast acting as parapet. These beautifully sculptured supports were used in entrances to temples and as flanks to steps and stairs in royal palace structures, New Light on Hampi, Recent research in Vijayanagara, edited by John M. Fritz and George Michell, pp 53 The Mantapas are supported by ornate pillars.

Van Wouw and Frans Soff had earlier employed the Egyptian obelisk, a petrified ray of the African Aten, as central motif for the National Women's Monument in Bloemfontein, South Africa, itself likewise inaugurated on the Day of the Vow, 16 December 1913. Whilst finalising the design of the Voortrekker Monument in 1936, Moerdijk went on a research trip to Egypt. There he visited the Karnak Temple Complex at Thebes, where an African Renaissance had flourished under Pharaoh Akhenaten, Nefertiti's husband. The open air temples of Akhenaten to the Aten incorporated the Heliopolitan tradition of employing sun rays in architecture, as well as realistic wall reliefs or friezes.

These windows are framed by cut stone windowsills and lintels, and their shutters date from the house's construction. Small friezes are placed in conjunction with the windows on the sides, and both front and side are decorated with a tall entablature. Both side and front are elevated enough to permit the placement of windows high on the basement walls, while the shallow hip roof is pierced by seven different chimneys. When erected, the building had the shape of the letter "U", with the opening to the rear, although construction in 1900 saw small porches added to the northern and southern sides and an addition to close the opening in the "U".

The Forum consisted of a sequence of open and enclosed spaces, beginning with the vast portico-lined piazza measuring long and wide, with exedrae on two sides. The main entrance was at the south end of the piazza, through a triumphal arch at the center commemorating the Dacian Wars, decorated with friezes and statues of Dacian prisoners. The arch was flanked by tall walls built from blocks of Peperino tuff clad entirely in marble, which enclosed the Forum on three sides. The tuff walls which enclosed the piazza to the west and east featured exedrae; outside the exedrae, separated by streets, were markets of concentric shape.

In response to criticism from Houston mayor R. H. Fonville, who wanted a style with more classical reference, Finger said, "Here in America we are rapidly developing our own type of architecture which is far above that of foreign countries. We are building for the masses, not the classes." Above the lobby entrance of the City Hall is a stone relief of two men taming a wild horse, symbolizing a community coming together to form a government to tame the world around them. This sculpture, and the twenty-seven other friezes around the building, were carved by Beaumont artist Herring Coe and co-designer Raoul Josset.

The back of the procession The Trialeti Chalice is a silver cup from Trialeti, Georgia. It was discovered during an archaeological expedition in the 1930s, it was one of the objects from the Trialeti culture that were excavated from Kurgan barrows in Trialeti, and has been dated to the 18th-17th centuries BCE. The outside of the cup is decorated with two processional friezes, the lower depicts nine deer, stags and hinds walking clockwise around the cup. The front of the procession and the seated man The upper frieze has twenty two masked men bearing cups processing in the opposite direction to the deer.

The house began as additions to the original single story farmhouse and became a three-story, 20-room manor, constructed of finely crafted sandstone in the African veld. The estate included two churches, a vicarage, a gamekeepers’ lodge, stables and various outbuildings. The house was built in old-world grandeur, becoming a national gem and, was decorated by the London firm James Shoolbred and Company of Tottenham Court Road. Prynnsberg includes enormous rooms of gold leaf and flocked wallpapers, intricate oak parquet, pressed leather panelling, rococo plaster ceilings, gilded cornices, elaborate tiled fireplaces, leaded windows and teak doors with Victorian stained glass and flamboyant friezes.

After visiting Greece in 1985, and closely studying classical friezes, he embarked on a series of large-scale narrative works, including After Olympia, a panorama more than long, inspired by the temple to Zeus at Olympia. Latterly he has attempted large scale installation pieces, one of which, Sea Music, stands on the quay at Poole, Dorset. In the early 2000s, his work featured nearly life-size equestrian figures built from fragments of wood and terra cotta on gymnast's vaulting horses. In 2008, Caro opened his "Chapel of Light" installation in the Saint Jean-Baptiste Church of Bourbourg (France), and exhibited four figurative head sculptures at the National Portrait Gallery, London.

Sequential depictions on Trajan's Column in Rome, Italy An example of an early precursor to print comics is Trajan's Column. Rome's Trajan's Column, dedicated in 110 AD, is an early surviving example of a narrative told through sequential pictures, while Egyptian hieroglyphs, Greek friezes, medieval tapestries such as the Bayeux Tapestry and illustrated manuscripts also combine sequential images and words to tell a story. Versions of the Bible relying primarily on images rather than text were widely distributed in Europe in order to bring the teachings of Christianity to the illiterate. In medieval paintings, multiple sequential scenes of the same story (usually a Biblical one) appear simultaneously in the same painting.

There are also two lions in each of the lateral access paths to the semicircle; these were carved by Francisco Javier Escudero Lozano, Antonio Bofill, Eusebi Arnau, and Campmany. At each side of the central access way to the colonnade are "El Ejército" ("The Army") by José Montserrat and "La Marina" ("The Navy") by Mateo Inurrria. In the inside of the monument, facing the lake, are the bronze sculptures "Las Ciencias" ("Sciences") by Manel Fuxà, "La Agricultura" ("Agriculture") by José Alcoverro, "Las Artes" ("The Arts") by Joaquín Bilbao, and "La Industria" ("Industry") by Josep Clarà. The ornamentation of the friezes and the central base was done by Pedro Estany.

Inside are preserved a painted frieze in the "salone di rappresentanza" or state room (the "Salone Rosso") and fragments of seventeenth-century friezes in other rooms with "Stories of David and Jacob". Another room houses a fresco collection of "vedute" of Rome by Bartolomeo Pinelli. By order of Louis XV, the Palazzo was acquired for France in 1725 and 22 years later it became the new residence of the French Academy in Rome, previously housed at the Palazzo Capranica. One second floor room is still frescoed with scenes copied from the Raphael Rooms at the Vatican Palace, produced by the artists accommodated by the Palazzo during its time as the Academy.

Marble Arch before its relocation as the entrance to the newly rebuilt Buckingham Palace Buckingham Palace remained unoccupied, and for the most part unfinished, until it was hurriedly completed upon the accession of Queen Victoria in 1837. Within a few years, the palace was found to be too small for the large court and the Queen's expanding family. The solution was to enlarge the palace by enclosing the cour d'honneur with a new east range. This façade is today the principal front and public face of the palace and shields the inner façades containing friezes and marbles matching and complementing those of the arch.

The Department of Education Building occupies a complete city block, its four handsomely detailed sandstone elevations being designed to dominate this area. The northern elevation makes an important contribution to Bridge Street, the monumental simplicity being articulated by the central porch with its broken pediment, a sequence of arched openings and judiciously ornamented balconies and friezes, which are topped by a lofty parapet. The other three elevations generally repeat this formula in a more restrained way. In addition to the important Bridge Street presentation, there are other important views from the First Government House site, from Macquarie Place and along Bent Street, as well as the axial view from O'Connell Street.

Shelley by Louis Édouard Fournier (1889); pictured in the centre are, from left, Trelawny, Hunt, and Byron Louis Édouard Fournier (12 December 1857 - 10 April 1917) was a French painter and illustrator. Fournier participated in many large-scale artistic endeavors, chief of which was the creation of frescoes for the decoration of the Grand Palais in Paris, in association with other artists including Alexandre Falguière. Fournier also created many mosaic friezes, considered at the time milestones in French art. One of his most celebrated frescoes, "Aux gloires du Lyonnais et du Beaujolais" is in the Deliberation Room in the Council General of Rhône in Lyon.

The Great Northern Hotel is located on a prominent corner site at the intersection of Flinders and Blackwood Streets, within an historic precinct which includes the 1914 Townsville railway station and oval lawn, garden and mature trees, the 1932 Newmarket Hotel on the opposite corner, and the vista towards Castle Hill. The Great Northern Hotel is a substantial two-storeyed, L-shaped brick building with facades to Flinders and Blackwood Streets. It has a corrugated-iron roof, hidden behind a parapet decorated with classical motifs. Wide verandahs with bullnose roofing, cast-iron balustrading and friezes and a wooden valance on the lower level, adorn both street frontages.

In addition to these, there are also various friezes attached to various parts of buildings, which include zigzag patterns, tessellations, perpendicular lines, dentils, niches, small false doors, and meanders, as well as floral and figural elements, including series of ibex heads and grape vines. Other common artistic elements in buildings include rosettes and volutes, ears of corn, and pomegranates. In two excavations, wallpaintings have also been discovered: geometric paintings in the temple of al-Huqqa and figural paintings from the French excavations at Shabwat. Artefacts in wood have not survived, but stone images of furniture allow us some insight into ancient South Arabian woodworking.

The superstructure, displaying a well developed North Indian Rekha-Nagara style, is a rising five stage projection of centered squares with a complex pattern of interlocking gavakshas, but the amalaka and kalasha are now missing. The sukanasa, mounted on a spire in front of the temple, is of a dancing Uma- Maheshwara (Parvati-Shiva) set inside a chaitya-arch. Inside the temple are pillars and pilasters intricately carved with friezes depicting the Bhagavata Purana (Vaishnavism), the Shiva Purana (Shaivism) and the Ramayana. One frieze shows the demon Ravana lifting mount Kailasha, others show the playful pranks of Krishna, while another narrates the Kalyansundarmurti (marriage of Shiva and Parvati).

In the 5th century BC, a new kind of stoneworking appeared, in which the edges of the stones were polished, while the centre of the exposed faces were pecked. This 'marginally drafted' style changed over time, making a chronological arrangement of walls built in this style possible.Gus W. Van Beek, "Marginally Drafted, Pecked Masonry," in: Richard Le Baron Bowen Jr.; Frank P. Albright: Archaeological Discoveries in South Arabia (Publications of the American Foundation for the Study of Man, Volume 2) Hopkins Baltimore, 1958, pp. 287–299. Interior walls were either plastered (sometimes featuring wall paintings) or covered with stone cladding, with paintings imitating ashlar blocks and sometimes even three-dimensional friezes.

The building is designed in a "U" plan covered in tile roof, with the western wing shorter than the opposite wing. The central wing is three- stories high, with the two floors in the east over the cliffs. The doors of the palace on the first floor are surmounted by Gothic arches, on the second by rectangular friezes, with two windows with double, polycentric arches and twin panel, with iron balcony. At the top of the second floor staircase is an arched doorway surmounted by flanked armillary spheres and central coat-of- arms; the staircase connects the doorway to the eastern, second floor and the door of the 3rd central floor.

In the housing boom that followed the Civil War, aesthetics began to shift toward Italianate styles. Many variations on the design can be spotted throughout Floraville, including an iconic Italian Villa known as The Gothic (207 Cincinnati Ave.) that also borrows many Gothic elements responsible for its name. Some of the earlier Italianate homes, like Burl Manor (230 S Mechanic St.), are similar in shape and size to the Greek Revival estates, while those built closer to the turn of the century are more modest frame residences with pedimented lintels, dog-ear window surrounds, bracketed friezes, and porches with cut-out designs in the posts.

Elements of the house suggesting the involvement of Mortimer Lewis are: narrow "slit" side light windows flanking the front door; internal skirting boards with "window- panelling" insets; papier mache ceiling friezes and roses (from Bealerfeld & Co. in London)(much used in the 1840s, e.g. by Surveyor-General Sir Thomas Mitchell at Parkhall in Douglas Park; who influenced Lewis; and at Government House, Sydney (which Lewis supervised construction of) (NB: these were later removed and the ceilings stencilled); the "Gothic" black marble fireplace in the major room; the niches and arched vault openings in and off the entrance lobby (as at Garry Owen house in Lilyfield, by Lewis).

For example, although von Koch is famous for developing The Koch Curve in 1904, a similar shape featuring repeating triangles was first used to depict waves in friezes by Hellenic artists (300 B.C.E.). In the 13th century, repetition of triangles in Cosmati Mosaics generated a shape later known in mathematics as The Sierpinski Triangle (named after Sierpinski's 1915 pattern). Triangular repetitions are also found in the 12th century pulpit of The Ravello Cathedral in Italy. The lavish artwork within The Book of Kells (circa 800 C.E.) and the sculpted arabesques in The Jain Dilwara Temple in Mount Abu, India (1031 C.E.) also both reveal stunning examples of exact fractals.

Hittite relief vases have been known since the excavations of Boğazköy (the Hittite capital of Hattusa). Fragments have also been found at Alişar, Alaca Höyük, Eskiyapar, Kabaklı, Elbistan-Karahöyük und Kaman-Kalehöyük. They have generally been dated to the early period of the Hittite Empire, in the first quarter of the second millennium BC. The sole reconstructed example was a four frieze vase from İnandıktepe, which is on display in the Museum of Anatolian Civilizations in Ankara, and a fragment with three friezes from Bitik. The motifs depicted on these vases consist of ritual activities, offering scenes, and festivals with acrobats, dancers and musicians.

It also was deeper than the Line A, and like it, each station was decorated with friezes of characteristic colors. An underground link with the subsoil of the Mercado Central de Abasto (central wholesale fruit and vegetable market) was made available on 12 July 1933, by which goods wagons with freight from the Ferrocarril Central de Buenos Aires (Buenos Aires Central Railroad) would arrive, driven by electric locomotives. This was lifted after the fire occurred on 27 November 1952. From the beginning the circulation was protected by an automatic luminous signalization, with devices for mechanic trains, which were substituted in 1980 for others of magnetic induction, also replaced in 1998 for an electric system with ATP.

There is an open-air museum within the temple complex which has a large collection of archeological antiquaries unearthed from the area, which are dated to 2nd and 3rd centuries. A particular find on display is of Sati pillars, which have unique architectural motif in which couples are carved in squatting amorous postures called the "alingana-mudra". There are also many slabs (stelles), with one stele in particular carved with a sword as a commemorative slab, and images of Uma Maheswar. Other collections on display in the courtyard are: Many dilapidated images; friezes of Nandi and Linga; and on the northern part of the courtyard a temple made of bricks in a ruined state.

The friezes of the limestone-clad buildings around Killian Court are engraved with the names of important scientists and philosophers. The spacious Building 7 atrium at 77 Massachusetts Avenue is regarded as the entrance to the Infinite Corridor and the rest of the campus. Alvar Aalto's Baker House (1947), Eero Saarinen's MIT Chapel and Kresge Auditorium (1955), and I.M. Pei's Green, Dreyfus, Landau, and Wiesner buildings represent high forms of post-war modernist architecture. More recent buildings like Frank Gehry's Stata Center (2004), Steven Holl's Simmons Hall (2002), Charles Correa's Building 46 (2005), and Fumihiko Maki's Media Lab Extension (2009) stand out among the Boston area's classical architecture and serve as examples of contemporary campus "starchitecture".

Wallpaper also comes as 'borders', typically hung horizontally at the tops of walls, and above wainscotting. Bordering wallpaper comes in an array of colours and patterns, straight or shaped edges, and widths (sometimes called 'heights' due to its orientation), and is used to provide a finished look to walls already hung with printed wallpaper, or as an accent for painted or plain-papered walls. Some bordering wallpapers are decorated with pictures and even writing, which, when hung, can tell a simple story or a well-known theme, such as fairytales, poems, pictographs of alphabets or numerals, or religious works. In modern western homes, these are referred-to as 'friezes' and commonly adorn nurseries and children's bedrooms.

This feature is repeated on the opposite wall, with the lower portion serving as the doorway at the top of the grand marble staircase. Decorative friezes run across the north-western end wall at above door height, and two small lanterns are attached on either side of its Gothic window. All other wall surfaces throughout the grand foyer are scored and painted to resemble travertine block work. A key element in the grand foyer is its staircase, which at approximately five metres wide and nine metres long was built on a scale to suit that of the large space it occupies, as well as to accommodate the numbers of patrons of the former 1929 theatre.

Situla of the Pania Detail of the second band The Situla of the Pania is an ivory situla or pyxis from the end of the seventh century BC, found in the Tomb of the Pania in Chiusi and conserved in the Museo archeologico nazionale di Firenze. The work is one of the most important examples of Etruscan ivory work - there are only two other examples, one from Chiusi and one from Cerveteri. It is composed of a hollow cylinder (22 cm high) and decorated with horizontal friezes, separated by small bands carved with plant motifs (interweaved palmettes and lotus flowers). Two medium-sized bands at the top and bottom are decorated with more lotus flowers.

Sometimes they were decorated with friezes of reliefs depicting religious or possibly mythological subjects; some of these have been preserved by being re-used and incorporated in later, Gothic structures. These earliest churches display stylistic influences from both Western and Eastern Europe, the latter especially evident in the Russo- Byzantine church murals in Garde Church. During the second half of the 12th century, stylistic tendencies shifted decisively towards Western Europe. The construction site of Lund Cathedral in Scania spread influences from present- day Germany. The establishment of the Cistercian Roma Abbey on Gotland in 1164 would have a lasting influence on church architecture on Gotland, which came to incorporate several elements from Cistercian architecture.

Between the two eaves are the miniature decorative towers (Aedicula) on pilasters. Below the second eaves are the wall panel of images of Hindu deities and their attendants in relief.Foekema (1996), pp28-29 Below this, at the base are the six equal width rectangular moldings (frieze). Starting from the top, the friezes depict hansa (birds) in the first frieze, makara (aquatic monsters) in the second (though often interrupted with kirtimukhas in this temple), epics and other stories in the third (which in this case is from the Hindu epic Ramayana, the Mahabharata, and stories of Krishna), lions in the fourth (instead of the more commonly seen leafy scrolls), horses in the fifth and elephants at the bottom.

The building's interior is dominated by a central hall rising over 120 feet from the ground floor to the ceiling of the lantern tower. As well as the ground floor, there are three upper floors with balconies opening up onto the central hall, and collection halls and exhibition spaces on each floor. The interior design features classical influences from Ancient Greece, Assyria and Egypt, including columns and mosaic floors, and copies of Classical and Renaissance sculpture representing the “whole range and history of the world’s greatest achievements in art”. Only the Greek and Assyrian friezes on the upper floors and the copy of Lorenzo Ghiberti's Gates of Paradise on the ground floor remain of the original sculptures.

The decorative plan of the outer walls of the shrines and the mantapa (hall) is of the "new kind", with two eaves that run around the temple. According to art historian [Gerard Foekema, the wall panel images (one hundred and forty in all), and the reliefs and friezes that abound in this temple have a relaxed quality of workmanship about them, and in no Hoysala temple do these appear more "folkish in character".Foekema (1996), p28, pp73-74 In the "new kind" of decorative articulation, the first heavy eaves runs below the superstructure and all around the temple with a projection of about half a meter. The second eaves runs around the temple about a meter below the first.

The art deco Sunset Tower is considered one of the finest examples of the Streamline Moderne form of Art Deco architecture in Southern California. In their guide to Los Angeles architecture, David Gebhard and Robert Winter wrote that "this tower is a first class monument of the Zig Zag Moderne and as much an emblem of Hollywood as the Hollywood sign." It is situated in a commanding location on the Sunset Strip with views of the city and is decorated with plaster friezes of plants, animals, zeppelins, legendary creatures and Adam and Eve. Originally operated as a luxury apartment hotel, it was one of the first high-rise reinforced concrete buildings in California.

Henry Simmons Frieze In 1854, Frieze moved to Ann Arbor, Michigan after being appointed chair of Latin at the University of Michigan. Between 1859 and 1862, the Friezes built a large house at 1547 Washtenaw Avenue in Ann Arbor and lived in it until 1870; known as the Henry S. Frieze House, the home is listed in the National Register of Historic Places. When Erastus Otis Haven resigned as president of the University of Michigan in 1869, the Board of Regents asked Frieze's former pupil James B. Angell, then serving as President of the University of Vermont, to assume the office. He declined, feeling he had work remaining to be done in Vermont.

The temple has the shape of a cross when seen from the air; the highest point of the temple is , and it measures from east to west and from north to south. The front exterior was designed in the form of a Greek cross, but lacks a tower, a rarity in LDS Church temples. Apart from the Laie Hawaii Temple, only three other church temples lack towers or spires: the Cardston Alberta, Paris France and the Mesa Arizona temples. Looking up towards the temple from the reflecting pool and Visitors' Center The exterior of the temple exhibits four large friezes planned by American sculptor J. Leo Fairbanks and built with the help of his brother Avard Fairbanks.

Fiolitaki (2008) The walls were decorated with marble, the roof was gilded, while the narthex featured a depiction of the baptism of Constantine the Great. Fragments of ivory, amethyst, gold and colored glass, originally inlaid in the marble sculptures, have also been found at the site, as well as fragments of mosaics. The deliberate evocation of the Solomonic Temple was further reinforced by the preponderance of motifs such as palm trees, pomegranates and lilies in the church's decoration. A notable characteristic, which has not been attested before in Constantinopolitan art and architecture, is the extensive use of Sassanid Persian decorative motifs such as friezes of running palmette and pomegranate leaves or symmetric geometric and vegetal patterns.

Central do Brasil Train Station. With the arrival of 30 new trains in 2011, 14 previous SuperVia train configurations will be withdrawn from circulation. Capable of carrying 1,300 passengers, the new trains have several technical advantages, such as: alternating current traction motors, air conditioning with automatic temperature control, automatic coupling system, door system with detection of obstruction, electronic billboards and onboard displays, sound equipment, security cameras, lubrication system friezes, intercom and emergency signaling devices in accordance with the accessibility standard (NBR 14021). Trains will also have cameras on the sides (mirror type), which allows monitoring by the driver of any platform without having to move away from the command post in the cabin.

Some of the most detailed and elaborate acanthus decoration occurs in important buildings of the Byzantine architectural tradition, where the leaves are undercut, drilled, and spread over a wide surface. Use of the motif continued in Medieval art, particularly in sculpture and wood carving and in friezes, although usually it is stylized and generalized, so that one doubts that the artists connected it with any plant in particular. After centuries without decorated capitals, they were revived enthusiastically in Romanesque architecture, often using foliage designs, including acanthus. Curling acanthus-type leaves occur frequently in the borders and ornamented initial letters of illuminated manuscripts, and are commonly found in combination with palmettes in woven silk textiles.

The station is a pylon trivault and is considered to be amongst the most beautiful stations in the system, and is currently the only one in Kyiv that is the closest in appearance to the famous Stalinist architecture used in the Moscow and Saint Petersburg Metros of the 1950s. It was designed by architects H.Holovka, M.Syrkin, Ye.Ivanov, Zh.Yegulashvili, L.Semenyuk and O.Lozynska. The red marbled pylons are adorned with white marble busts of famous scientists and Ukrainian literature poets, attributed to sculptors M.Dekermendzhi, A.Bilostotsky, V.Znoba, A.Kobalyov, Ye.Kuntsevych, M.Lysenko, P.Ostapenko, O.Suprun and A.Shapran. The white marble friezes also decorate the pylons and lighting is achieved by hidden lamps in the niches of the central vault, and by lamps on the platforms.

Instead of the heavy ornamentation on display in the palace, the walls of the Trianon were covered in delicately carved wood boiseries, with plaster friezes, pilasters, and capitals of noticeably more refined, delicate appearance.Walton, 1986; p.160 The Trianon was home to Louis XIV's extended family, housing his son and heir le Grand Dauphin from 1703 to 1711. The domain was also a favourite retreat of the Duchess of Burgundy, the wife of his grandson Louis de France, the parents of Louis XV. In the later years of Louis XIV's reign, the Trianon was the residence of the king's sister-in-law Elizabeth Charlotte of the Palatinate, Dowager Duchess of Orléans and known at court as Madame.

A first church building, started in 1143, was replaced around 1200 by a flat-roofed basilica with columns, recalling the architecture of Hirsau Abbey and the influence of the Romanesque architecture of Swabia, rather than the Upper Rhine regions and Alsace where basilicas were predominantly domed. The exterior of the nave is divided by pilasters and archivolted friezes. From 1250 to 1283, an expansion in Gothic style took place: a polygonal choir and transept and an octagonal crossing tower were added to the Romanesque nave, which remained intact, and the aisles were covered with a cross-ribbed vault. The nave vault was built only in 1609–1611 in Survival Gothic forms (see Jesuit Church, Molsheim).

Detail of the sculpted form of a head of a woman, with mask of a lion, over one of the windows in the northeast of the building The rectangular building plan, consists of three floors separated by friezes and decorated by differing stonework. The main elevation in the east, consists of six bodies, separated by pilasters, characterized by the type of treatment: simulating a rustic ground floor and turning into double pilasters on the upper floor. With open spans and regular rhythm, the bodies are differentiated by different fenestration sculptures. The standard windows on the ground floor are framed by straight lintels, as are the bay windows on the 1st floor, with similar framing.

Replicas can be found at the Oriental Institute in Chicago, Illinois; Harvard's Semitic Museum in Cambridge, Massachusetts; the ICOR Library in the Semitic Department at The Catholic University of America in Washington, D.C.; Corban University's Prewitt–Allen Archaeological Museum in Salem, Oregon; the Siegfried H. Horn Museum at Andrews University in Berrien Springs, MI; Kelso Museum of Near Eastern Archaeology in Pittsburgh, PA; Canterbury Museum in Christchurch, New Zealand; the Museum of Ancient Art at Aarhaus University in Denmark, and in the library of the Theological University of the Reformed Churches in Kampen, the Netherlands. Jewish delegation to Shalmaneser III, composed of the four friezes of the second tier. Black Obelisk, 841-840 BCE.

Ensoli, L'Iseo e Serapeo del Campo Marzio, pp. 421-23. the marble foot that is the namesake of Via del Piè di Marmo; three columns with friezes representing Egyptian priests; several Egyptian-style lotus-shaped capitalsEnsoli, L'Iseo e Serapeo del Campo Marzio, p. 421.; the Vatican Museum Pinecone; the statue of the Nile in the Vatican Museums, and the statue of the Tiber river with Romulus and Remus; a statue of Thoth as a baboon; and possibly the statues of lions now decorating the Fontana dell'Acqua Felice and the staircase leading to Piazza del Campidoglio and the statue of a cat in the adjacent Via della Gatta, along with the Bembine Tablet.

The West Block Designed by Thomas Stent and Augustus Laver, the West Block is an asymmetrical structure built in the Victorian High Gothic style, with load bearing masonry walls, all clad in a rustic Nepean sandstone exterior and dressed stone trim around windows and other edges, as well as displaying a multitude of stone carvings, including gargoyles, grotesques, and friezes, keeping with the style of the rest of the parliamentary complex. The West Block adds to the Ottawa skyline three prominent towers: the Mackenzie Tower (added in 1878), the Laurier Tower (added in 1906), and the Southwest Tower. The interim House of Commons Chamber, built in West Block's old courtyard, during a dry run in January 2019.

The semi-circular break between the curved top and the six teeth is said to represent the Rialto Bridge. Sometimes three friezes can be seen in-between the six prongs, indicating the three main islands of the city: Murano, Burano and Torcello. This symbolism is likely influenced by the need to explain the shape to tourists, rather than the shape being influenced by those symbols, as they are not mentioned in any writings about the gondola prior to the current evolution of the shape of the Fero. The gondola is also one of the vessels typically used in both ceremonial and competitive regattas, rowing races held amongst gondoliers using the technique of Voga alla Veneta.

Portrayal of martial arts sporting in Egypt has begun by the time of the 5th Dynasty mastaba tombs at Saqqara, circa 2400 BC. After a boat joust scene recorded in the tomb of Niankhkhnum and Khnumhotep, who were manicurists to King Nyuserre, six pairs of boys wrestle in the nearby tomb of Akhethotep and Ptahhotep. Another early piece of evidence for wrestling in Egypt appears at 11th and 12th Dynasty Beni Hasan (2000 BC, images at right and above), where wrestling scenes in several tombs are elaborated to cover much of a wall. During the period of the New Kingdom (1550-1070 BC), additional Egyptian artwork (often on friezes), depicted Egyptian and Nubian wrestlers competing.

136 View of central domical bay ceiling supported by lathe turned pillars in the mantapa in the Kedareshwara temple at Halebidu Wall panel relief of deities in the Kedareshwara temple at Halebidu Since the temple has three shrines, it qualifies as a trikuta, a three shrined structure. Often in trikutas, only the central shrine has a tower while the lateral shrines are virtually hidden behind the thick outer walls and appear to be a part of the hall itself.Foekema (1996), p.25 Despite being a Shaiva temple (related to god Shiva) it is well known for its friezes and panel relief that bare depictions from both the Shaiva and Vaishnava (related to the god Vishnu) legend.

The temple has an apsidal shape with its interior chambers and sanctum set on the square principle while the spire and outer walls use an almost circular plan. The temple is set on a high plinth like the Hoysala temples, with the basement adorned with sculpted animals and balustrades with yalis flanking the steps. The outer walls of the Shiva temple have large sculptured panels at right angles to each other and these show the major gods and goddess of Vedic tradition and post-Vedic Shaivism, Vaishnavism, Shaktism, Saurism (Surya) and Ganapatya (Ganesha) traditions of Hinduism. The base of the temple have relief friezes depicting a large variety of stories from Hindu epics and puranas.

The first of many large commissions to come his way was the Equestrian statue of General Botha for his Memorial (1928), which stands outside the parliament in Cape Town, originally a commission to his father Raffaello Romanelli which he took over upon his death. After World War II, Romano's links with South Africa also gave his workshop a role in the creation of the historical friezes for the Voortrekker Monument in South Africa. The design was created by four South African sculptors Hennie Potgieter, Laurika Postma, Frikkie Kruger and Peter Kirchhoff who spent five years creating plaster panels. These panels were sent to Florence where Romanelli had a large studio with machinery and technical equipment.

A large frieze reads "Biblioteca Fons Eruditionis", or "the library, the fount of learning". A smaller frieze over the central entranceway reads "Open to all" in bold capital letters (Carnegie required that anyone use the libraries he funded). The facade also features a row of benches, with the inscription "my treasures are within" across them; this phrase was suggested to be used by Carnegie, in his letter awarding his funds. Friezes atop windows on the west facade mention the classical poets Virgil and Homer; other inscriptions credit Carnegie for funding the library and another has the Latin word "anno" followed by Roman numerals "MCMIV", meaning "the year 1904", when the cornerstone was laid.

The main sculptures are not integral friezes but are treated as independent trophies applied to the vast ashlar masonry masses, not unlike the gilt-bronze appliqués on Empire furniture. The four sculptural groups at the base of the Arc are The Triumph of 1810 (Cortot), Resistance and Peace (both by Antoine Étex) and the most renowned of them all, Departure of the Volunteers of 1792 commonly called La Marseillaise (François Rude). The face of the allegorical representation of France calling forth her people on this last was used as the belt buckle for the honorary rank of Marshal of France. Since the fall of Napoleon (1815), the sculpture representing Peace is interpreted as commemorating the Peace of 1815.

Arab-Norman art and architecture combined Occidental features (such as the Classical pillars and friezes) with typical Arabic decorations and calligraphy. In succession, Sicily was ruled by the Sunni Aghlabid dynasty in Tunisia and the Shiite Fatimids in Egypt. However, throughout this period, Sunni Muslims formed the majority of the Muslim community in Sicily, with most (if not all) of the people of Palermo being Sunni, leading to their hostility to the Shia Kalbids. The Sunni population of the island was replenished following sectarian rebellions across north Africa from 943–7 against the Fatimids' harsh religious policies, leading to several waves of refugees fleeing to Sicily in an attempt to escape Fatimid retaliation.

Round the top of the house, letters appear in a balustrade, declaring the piety and loyalty of Sir Arthur Ingham: 'ALL GLORY AND PRAISE BE GIVEN TO GOD THE FATHER THE SON AND HOLY GHOST ON HIGH PEACE ON EARTH GOOD WILL TOWARDS MEN HONOUR AND TRUE ALLEGIANCE TO OUR GRACIOUS KING LOVING AFFECTION AMONGST HIS SUBJECTS HEALTH AND PLENTY BE WITHIN THIS HOUSE.' The chapel in the north wing retains some 17th century features, such as armorial stained glass, probably by Henry Gyles and a carved wooden pulpit by Thomas Ventris, made around 1636, with geometric patterns, pilasters and friezes. The walls had panels of Old Testament figures, painted by John Carleton. Sphinx gate piers, c.

Lamb House is a large, two-storeyed, red brick residence with a multi-gabled roof clad in terracotta tiles. Conspicuously situated above the Kangaroo Point Cliffs at the southern end of the suburb, overlooking the South Brisbane and Town reaches of the Brisbane River, The house is an inner city landmark, prominent from many parts of the Brisbane central business district, the river and the Captain Cook Bridge and Pacific Motorway. Queen Anne influences are evident in the timber and roughcast gable infill designs, the ornate cement mouldings to the entrance portico- cum-observation tower, and the elaborate chimney stacks and tall terracotta chimney pots. Verandahs on three sides at both levels have timber posts, arches and weatherboard friezes.

When the company left its Ladies' Mile building, it moved to an Italian Renaissance Revival palazzo-style building at 390 Fifth Avenue at West 36th Street in the Murray Hill neighborhood. Designed by McKim, Mead & White, with Stanford White as the partner in charge, and built in 1904–1906, the building features bronze balconies and friezes designed by Gorham's staff, and is topped by a copper cornice. From 1924 to 1959, it was home to Russeks department store, and then Spear Securities from 1960, who changed the street level facade. It was designated a New York City landmark in December 1998, but not before the lower floors were significantly altered from their original design.

Around 1497, while continuing with his work on the Caesars, Cairano also developed five keystones for the portico of the Loggia palazzo, representing Sant'Apollonio, San Faustino, San Giovita, Justice and Faith. Between 1499 and 1500, he delivered two large trophies to be placed on the top order of palazzo, while between 1493 and 1505, Cairano participated in the fulfilment of leonine protome, capitals, and candelabras and friezes for the same top order. The attention of the artist to his craft and productions is evident, and it influenced in general all the decorative sculptural works made for the palazzo at the time. Cairano's concentration on the Caesars is interrupted only briefly by the return of Tamagnino between 1499 and 1500.

Buckstaff Baths Typical men's bath in Buckstaff, 1987 Completed in 1912, the elegantly designed Buckstaff Baths operates under National Park Service regulations, its well-trained staff provides a range of services from tradition thermal mineral baths and body massages to Swedish style full body massages. The bathing tubs are private and bathing suits are optional, although visitors may cover themselves between the bathing stations. Services begin with a "Whirlpool Mineral Bath" for $35.00 The cream-colored brick building is neoclassical in style with the base, spandrels, friezes, cornices and the parapet finished in white stucco. It was a radical departure from the fanciful structures that preceded it, and compared to the Irish House of Parliament or the Treasury Building.

Front facade of South High School South High School was designed by the architectural firm of Fisher & Fisher in the time's popular Romanesque style. Sculptor Robert Garrison created many of the building's adornments, including the 3 foot (1 meter) tall gargoyle above the building's main entrance; this symbolic protector of South was inspired by a gargoyle at the Italian Cathedral of Spoleto. On either side of the main entrance, bas-relief figures of teachers hold in their hands creatures representing examinations who are attempting to devour students. On the door are friezes of Faculty Row (a scene resembling the Last Supper, with the principal in the center) and Animal Spirits (frolicking student-like creatures).

The plan of the tower includes two rectangular volumes: an eastern two-storey and a western three-storey articulated volumes covered in roofing tile. Constructed in granite, the taller section is surmounted by triangular merlons, while the two-storey structure includes cornice over eaves. The southern principal facade has an access doorway with arch surmounted by twin trilobe windows and in the three storey section with dual lobe window on the second floor and a broken arch window on the third floor. The western facade has three friezes and plain arch on the first floor, a similar on the second and rectangular balcony supported by trilobal arch, serving a door third floor.

Again other reliefs show people in Indian dress, typically holding lotus flowers. All of these friezes, being contemporary with each other, hint at an intermixing of Indo-Scythians (holding military power), Indo-Greeks (confined, under Indo-Scythian rule, to civilian life, and usually shown revelling with drinking cups) and Buddhists (possibly most directly involved in religious matters, and shown with the reverencial lotus). These reliefs usually belonged to Buddhist temples, where they were used as stair- risers, or thresholds to niches on Buddhist monuments. In addition to the Greek costumes depicted in them, the artwork of the reliefs is Hellenistic in style and content; they are considered some of the earliest examples of Greco- Buddhist art.

The poem begins with the narrator reading Cicero’s Somnium Scipionis in the hope of learning some "certeyn thing". When he falls asleep, Scipio Africanus the Elder appears and guides him up through the celestial spheres to a gate promising both a "welle of grace" and a stream that "ledeth to the sorweful were/ Ther as a fissh in prison is al drye" (reminiscent of the famous grimly inscribed gates in Dante's Inferno). After some deliberation at the gate, the narrator enters and passes through Venus’s dark temple with its friezes of doomed lovers and out into the bright sunlight. Here Nature is convening a parliament at which the birds will all choose their mates.

According to George Michell, the carvings on the walls and porch of the Virupaksha temple exterior are "vehicles for diverse sculptural compositions, by far the most numerous found on any Early Chalukya monument". Other than Hindu gods and goddesses, numerous panels show depict people either as couples, in courtship and mithuna, or as individuals wearing jewellery or carrying work implements. A Virupaksha frieze showing two Panchatantra fables. The temple has numerous friezes spanning a variety of topics such as, for example, two men wrestling, rishi with Vishnu, rishi with Shiva, Vishnu rescuing Gajendra elephant trapped by a crocodile in a lotus pond, scenes of hermitages, and sadhus seated in meditative yoga posture.

The Pig & Calf Lunch is a one-story, flat-roofed building featuring elements of Streamline Moderne architecture. It is constructed of hollow clay tile faced inside and out with white ceramic tile, with contrasting horizontal bands of black tile along the base and roof line on the exterior of the building as well as above and below the windows. The front of the building is decorated with tile friezes depicting the titular animals on either side of the "Pig & Calf" name. The building has a continuous bank of windows under a full-width transom on the north (street) facade and ten separate windows on the west facade, which faces an off-street parking lot.

An engraving of the Quinta da Matta, showing front profile The palace is located on the outskirts of the parish of Loures, on large tracts of forested lands that include a sizeable "frontyard". Entrance to the building is made by accessing the main gate, that includes a portico with the sculpted coat-of-arms of the Counts/Marquesses of Penfiel. The layout of the building follows a "U"-shaped plan, comprising a central body that extends to the formal gardens in the rear (that also includes a tower in the southwest) and lateral wings (north and south). It is a two-storey building, separated by friezes and an intermediary mezzanine, with tiled roof.

The northern facade is coincident with the exterior wall, reinforced with corbels and marked by friezes and rectangular windows on the third floor, while the eastern face includes Manueline windows, similar to the southern facade. The first floor is the service floor, the second the reception area, and a bar in the eastern corp, while the remaining wings are taken-up by bedrooms. In the third floor is the formal dining and living rooms, with the kitchen and bedrooms. The two towers that flank the southern facade, of various dimensions and heights, are finished in pentagonal merlons (the tower of D. Fernando) and pyramids (the tower of D. Dinis), and were adapted into rooms.

Cintra is State significant as a benchmark property, important in demonstrating accurately the architectural and landscaping style of an Italianate Victorian country town villa, remarkably retaining special features including of note, the heart shaped carriage loop and lawn. Cintra is Maitland's principal residence of the High Victorian era, and its most intact and fine example of boom-style architecture. It retains all the dominant architectural style indicators including intricate cast iron friezes, asymmetrical massing, prominent tower, complemented by a period garden in its original layout, decorative urns, elaborate gates and the original coach house and stables building. The formality and authenticity of the house and garden have ensured that Cintra House epitomises the Victorian period Italianate design ( 1840- 1890).

The walnut cabinetry and plaster friezes in the Library and the columns and caryatids and strapwork ceiling in the Dining room are inspired by interiors of the Château de Fontainebleau. On the north side of the Great Hall lay the Mirror Room and the Drawing Room, now known as the Rose Room. It is thought that the entirety of the Mirror Room was ordered at the New York office of a French firm, then crafted in France and shipped to Glenside, along with workers, to be installed. The ceiling was painted by François Lafon, and depicts the four seasons as women, accompanied by cupids, with the path of the Zodiac behind them.

The male figure's nudity was considered shocking at the time of the monument's opening, and it is said to be the only such representation of a naked male form within any war memorial. Two other even more controversial figural sculptures designed by Hoff—one featuring a naked female figure—were never installed on the eastern and western faces of the structure as intended, partly as a result of opposition from high ranking representatives of the Catholic Church. The building's exterior is adorned with several bronze friezes, carved granite relief panels and twenty monumental stone figural sculptures symbolising military personnel, also by Hoff. Immediately to the north of the ANZAC Memorial is a large rectangular "Lake of Reflections" flanked by rows of poplars.

The building exhibits particular aesthetic characteristics valued by the community including its rich decoration including gargoyles, shields, lions, friezes and relief blocks and its two finely detailed facades which complement important elements of the adjoining buildings and contribute to the visual cohesiveness of this portion of Queen Street. The place is important in demonstrating a high degree of creative or technical achievement at a particular period. The building is important in demonstrating a high degree of technical achievement through the use of locally produced Benedict stone which was an innovative building material in Brisbane in the early 1930s. The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland's history.

The mansion is entered from the south-east front through an Entrance Hall measuring about square, around which four pairs of massive marble pillars with Ionic capitals giving the impression of a circular room. This leads to the Great hall by and high extending to the glazed and coffered roof; the Hall is surrounded by galleries on the first floor which are supported by marble pillars with Ionic capitals. This in turn leads on to the Salon which is the same size as the Entrance Hall. To the right of the Great Hall is the Library which is by and was fitted with bookcases on three sides to the full height of the room and has two mauve marble fireplaces and deep coved friezes and cornicing.

Divisions of labour between men, women, and animals that are still in place in Indonesian rice cultivation, were carved into relief friezes on the ninth century Prambanan temples in Central Java: a water buffalo attached to a plough; women planting seedlings and pounding grain; and a man carrying sheaves of rice on each end of a pole across his shoulders (pikulan). In the sixteenth century, Europeans visiting the Indonesian islands saw rice as a new prestige food served to the aristocracy during ceremonies and feasts. Rice production in Indonesian history is linked to the development of iron tools and the domestication of Wild Asian Water Buffalo as water buffalo for cultivation of fields and manure for fertiliser. Rice production requires exposure to the sun.

The Praetorians were in the thick of the Emperor Domitian's wars, firstly in Germany and then on the Dacian front, where their prefect, Cornelius Fuscus was killed in action (87). Other examples include the Praetorians' prominent role in Trajan's Dacian Wars (101-6), as acknowledged on the friezes of Trajan's Column and the Adamklissi Tropaeum. Equally celebrated, on the Column of Marcus Aurelius, was the Praetorians' role in the Marcomannic Wars (166-80), in which two Guard prefects lost their lives.Rankov (1994) 15 Even their final hour was wreathed in military glory: at the Battle of the Milvian Bridge (312), the Praetorians fought fiercely for their emperor Maxentius, trying to prevent the army of rival emperor Constantine I from crossing the river Tiber and entering Rome.

Windows are completely suppressed on the south and the east fronts; the mouldings throughout, though large in size because of the tremendous scale, are extremely refined, cold and quite unornamented." Henry-Russell HitchcockHitchcock (1954), pp311-312 The following is about the Small Concert Hall: "Exquisite in color and covered with most elegant decoration in low relief, this room is above all a masterly exercise in the use of those 'shams' Camdenians most abominated. The balconies are of cast iron designed to look like some sort of woven wickerwork; of iron also are the pierced ventilating grilles along the front of the stage and in the ceiling panels around the central skylight. The delicate arabesques of the pilasters and friezes are papier-mâché.

The archeological collection is considered to be the central most in the museum. It consists of antiquities from the prehistoric period, the bronze age, plaster casts of famous figurines from the Indus Valley, clay seals, inscriptions, pottery and other miscellaneous objects including bricks and weights. This collection is divided into two galleries, with the first containing early, medieval and late stone age implements from the Uttar Pradesh and Sindh area. The first archeological gallery includes objects of the Bronze Age from the Doab area, Mathura grey schist sculptures and friezes as well as sandstone sculptures, sculptures from the Mauryan dynasty and Sunga dynasty, Kushana period terracotta sculptures, terracottas from the Gupta period with significant objects being the inscribed clay tablets of Shravasti and Bhitargaon.

The glazing within is stained glass, commissioned as a Centennial Project in 1967 by then Speaker of the House of Commons Lucien Lamoureux. Each window contains approximately 2,000 pieces of hand-blown glass—created in Ottawa by Russell C. Goodman using medieval techniques—arranged in a Decorated Gothic style pattern designed by R. Eleanor Milne. Divided into four sections by stone mullions, the upper parts contain geometrical tracery and provincial and territorial floral emblems amongst ferns; in the tracery at the head of the windows are symbols extracted from the coats of arms of the provinces and territories. As with other areas of the Centre Block, the commons walls are enriched with shafts, blind tracery, friezes, and a sculpture programme.

Agora The building has a pronaos, a cella housing cult images at the centre of the structure, and an opisthodomos. The alignment of the antae of the pronaos with the third flank columns of the peristyle is a design element unique middle of the 5th century BC. There is also an inner Doric colonnade with five columns on the north and south side and three across the end (with the corner columns counting twice). The decorative sculptures highlight the extent of mixture of the two styles in the construction of the temple. Both the pronaos and the opisthodomos are decorated with continuous Ionic friezes (instead of the more typical Doric triglyphs, supplementing the sculptures at the pediments and the metopes.

Their handles are often extremely ornately carved with friezes of mythical beasts or hand-carved hakubun inscriptions that might be quotes from literature, names and dates, or original poetry. The Privy Seal of Japan is an example; weighing over 3.55 kg and measuring 9.09 cm in size, it is used for official purposes by the Emperor. Some seals have been carved with square tunnels from handle to underside, so that a specific person can slide their own inkan into the hollow, thus signing a document with both their name and the business's (or bureau's) name. These seals are usually stored in jitsuin-style boxes under high security except at official ceremonies, at which they are displayed on extremely ornate stands or in their boxes.

Details of a Vietnamese wooden ceiling In these countries the carver is unrivaled for deftness of hand. Grotesque and imitative work of the utmost perfection is produced, and many of the carvings of these countries, Japan in particular, are beautiful works of art, especially when the carver copies the lotus, lily or other aquatic plant. A favorite form of decoration consists of breaking up the architectural surfaces, such as ceilings, friezes, and columns, into framed squares and filling each panel with a circle, or diamond of conventional treatment with a spandrels in each corner. A very Chinese feature is the finial of the newel post, so constantly left more or less straight in profile and deeply carved with monsters and scrolls.

Day's mantle designs are often characterized by ionic columns topped with serpentine friezes, but some mantle pieces also employed horizontal and vertical linear designs to create a sharpness in his pieces. Overall, Day's architectural work, much like his furniture craftsmanship, focuses on creating a balance of motion through complementary curvatures. Unlike his furniture, however, Day sometimes added carved faces to his architectural work, especially on mantle pieces, as seen on a mantle in the Long House. Although some scholars have argued that Day's use of these faces represents his connections to his African heritage, since the use of carved faces was popular in African cultural images and craft designs, most scholars today agree that Day's carved faces have a more Euro-American design heritage.

The West Court of the Cast Courts of the Victoria and Albert Museum. The technique was also applied later that century to reliefs from Ancient Egypt and friezes from Mesopotamia (examples of both of which may be seen on the North-East Staircase and in Room 52 of the British Museum), as well as to medieval and Renaissance sculptures (as may be seen in the Cast Courts at the Victoria and Albert Museum, which were a product of growing interest in medieval art at that time and the resulting desire to have a 'reference collection' of such art). In the early 19th century, for example, perhaps as an expression of national pride, casts were made of outstanding national monuments particularly in France and Germany.

The Municipal Corporation Building The Crawford Market (pictured in infobox), renamed as "Mahatma Jyotiba Phule Mandai", located at the start of the D.N.Road, is a blend of Flemish and Norman architecture with a bas–relief built of coarse Coorla rubble, relieved by bright red stone from Bassein. It depicts Indian peasants in wheat fields just above the main entrance. The friezes on the outside and the fountains inside were designed by Lockwood Kipling, father of the novelist Rudyard Kipling. The Municipal Corporation headquarters or the Bombay Municipal Corporation Building (BMC) was designed as V–shaped structure in the Gothic Revival style of architecture by the British architect F W Stevens and built in 1893, subsequent to Lord Ripon, the Viceroy of India initiating the project in 1884.

The figures are clearly Indians of the Plains Indians rendered utilizing classicizing approaches and in marble, thus indicating the classicism and neoclassicism (that in this work shades into Romanticism) that Van Wart was exposed to in his extensive travels throughout Europe. Van Wart uses a classical jug, an Amphora for his scenes and sculpts his figures in idealized poses evoking classical prototypes such as the Hellenistic Boy with Thorn and the historicizing friezes of the Roman imperial period as those upon Trajan’s Column. The work is overtly sentimental about the disappeared lives of 'free' indians prior to the transformation of the New World into lands populated by Europeans. This exoticism European artists freely applied to representation of the other, particularly during Romanticism.

A fourth and final addition was completed in 1990 with the Kenneth S. Allen Library wing, named for the father of Microsoft co-founder Paul Allen; the elder Allen was an associate director of the University library system from 1960 to 1982. Between the years 2000 and 2002, Suzzallo Library underwent extensive retrofitting to strengthen the structure's integrity as a precaution against the effects of an earthquake. It remained open to the public throughout the entire renovation process, although sections were closed for periods of time. Allen Library The long, wide, high Graduate Reading Room (illustrated below) features cast-stone ashlar wall blocks and details, and oak bookcases topped with hand-carved friezes of native plants, under a painted and stenciled timber-vaulted ceiling.

In 2001, Iles curated Into the Light: The Projected Image in American Art 1964 – 1977, the first survey exhibition of historical film and video installation in America. The exhibition was met with broad critical acclaim; friezes Michael Wilson called it a "triumph", lauding the "gutsy attempt by the museum's curator of film and video, Chrissie Iles, to make newly visible a critical period in the development of a now commonplace form" and pulling "off the seemingly impossible by allowing illusion to retain its power while simultaneously revealing its source." Artforum wrote that "it’s a pleasure to return to a moment of joyful infatuation with film". The exhibition was awarded the prize for best theme show in New York in 2001 by the International Association of Art Critics.

60-64 It has a narrow horizontal flange set below the upright rim and decorated with scroll patterns inlaid in niello, and a small nielloed rosette within the centre base. It has a high, domed lid that fits neatly over the vertical rim and has been decorated in a very different style, with two friezes of low-relief decoration. The upper zone consists of conventional foliate ornament, while the lower is a scene of centaurs attacking various wild animals, separated by Bacchic masks. The small raised rim at the top of the lid would have sufficed for handling it, but set within it is a 'knob' in the form of a silver-gilt statuette of a young, seated triton blowing a conch shell.

National customs, church festivals, celebrations, natural disasters, misfortunes, human existence in general represented by interwoven friezes of people with exaggerated gestures, are all metaphors of collective consciousness, of total power of human multitude in good and evil. Horses, white, yellow, red rising on hind legs against the ruby-red sky and symbolizing life power, or a dragon representing the evil, all dwell in Jevtovic's rosy heaven like an eternal counterpoint: the fight between the real and imagined, good and bad… Dozens of portraits of human groups are connected by various incidents. The artist's sense of movement and crowd arrangement shows his innate feeling of composition. Gestures, clothes, and habits display features typical of the area and the people in ecstatic mood.

In a culture where chairs were reserved for important personages, often pillows scattered upon the floor of a chamber provided informal seating, and a cassone could provide both a backrest and a table surface. The symbolic "humility" that modern scholars read into Annunciations where the Virgin sits reading upon the floor, perhaps underestimates this familiar mode of seating. At the end of the 15th century, a new classicising style arose, and early Renaissance cassoni of central and northern Italy were carved and partly gilded, and given classical décor, with panels flanked by fluted corner pilasters, under friezes and cornices, or with sculptural panels in high or low relief. Some early to mid-sixteenth-century cassoni drew their inspiration from Roman sarcophagi (illustration, right).

Other points of similarity occur between the Madonna's face on the ark's cymatium and the female face of Justice on the Loggia's portico, which Cairano then reiterates in the Pala Kress. The middle frieze too supports the attribution to Cairano, its elaborate workmanship reminiscent of the Mausoleum of Martinengo and the altar of San Girolamo, both of which had very similarly executed friezes. The attention paid to the bold perspectives behind the foreground characters also has a precedent in Cairano's career, namely the Caprioli Adoration. The execution of the ark can be seen in the context of the rivalry between the Sanmicheli and Cairano, whose promotion of a classic style had supplanted the refined decorations of the Sanmicheli in public tastes.

But in 1898, Guimard's Castel Beranger emerged as the manifesto of Art Nouveau in architecture and its ceramics were commissioned from Bigot, who decorated the façade with picturesque details and covered the entrance breezeway with highly plastic molded panels designed to evoke the atmosphere of a grotto. The material became thus emblematic of the new style before Art Nouveau's decline about 1910. Bigot's work was rewarded with a Grand Prix at the Exposition Universelle of 1900 in Paris for which he collaborated with Paul Jouve and René Binet on the main entrance gate on the Champs-Elysées. The ensemble of wings enclosing the grand arch of the gate, designed by Binet, was ornamented with two superimposed friezes, executed in multicolored ceramic.

Entrance to Luxor Temple The Luxor Temple is a huge ancient Egyptian temple complex located on the east bank of the River Nile in the city today known as Luxor (ancient Thebes). Construction work on the temple began during the reign of Amenhotep III in the 14th century BC. Horemheb and Tutankhamun added columns, statues, and friezes – and Akhenaten had earlier obliterated his father's cartouches and installed a shrine to the Aten – but the only major expansion effort took place under Ramesses II some 100 years after the first stones were put in place. Luxor is thus unique among the main Egyptian temple complexes in having only two pharaohs leave their mark on its architectural structure. Hypostyle hall of Karnak Temple.

Divisions of labour between men, women, and animals that are still in place in Indonesian rice cultivation, were carved into relief friezes on the ninth century Prambanan temples in Central Java: a water buffalo attached to a plough; women planting seedlings and pounding grain; and a man carrying sheaves of rice on each end of a pole across his shoulders (pikulan). In the sixteenth century, Europeans visiting the Indonesian islands saw rice as a new prestige food served to the aristocracy during ceremonies and feasts. Rice production in Indonesian history is linked to the development of iron tools and the domestication of wild Asian water buffalo as water buffalo for cultivation of fields and manure for fertiliser. Rice production requires exposure to the sun.

The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. Cintra is State significant for its ability to demonstrate the aesthetic characteristics of both the Victorian era town villa and the Victorian Italianate style of architecture. The property is an intact and representative example of boom period house and garden in rural towns of the late nineteenth century. The property's curved carriage loop, ornamental specimen plants, decorative urns, elaborate gates, intricate cast iron verandah friezes, asymmetrical massing, prominent tower, grouped openings, colonnaded loggia, rendered wall finish, stepped lintels, bracketed eaves, low pitched hipped verandah roof, charm, formality and status in the landscape, are all characteristics that epitomise the Victorian period Italianate design ( 1840- 1890).

Another major relief shows the legend of Vishnu in his Varaha (a boar) avatar rescuing goddess earth (Bhudevi) from the depths of cosmic ocean, with a penitent multi-headed snake (Nāga) below. Like other major murti (statue) in this and other Badami caves, the Varaha artwork is set in a circle and symmetrically laid out; according to Alice Boner, the panel is an upright rectangle whose "height is equal to the octopartite directing circle and sides are aligned to essential geometric ratios, in this case to the second vertical chord of the circle". The walls and ceiling have traces of colored paint, suggesting the cave used to have fresco paintings. Inside the temple are friezes showing stories from Hindu texts such as the Bhagavata Purana.

Tarquínia Winged-Horses, exhibited at National Museum of Tarquinia Detail from Heads of the Horses Etruscan Art. Head of one of the horses The high-relief of the "Tarquinia Winged Horses" is a fragment of the colonnade that supported the pediment of the most important temple of the ancient Etruscan city of Tarquínia, at the Ara della Regina, better known as the Major Temple of Tarquínia. Nowadays situated at the Province of Viterbo (region of Lazio, Italy) Its realization dates back to the middle of the 4th century BC, although some researchers argued that it could be more recent, because only after the 3rd century BC Etruscan builders gave the temples a particular change in the decoration of the friezes and pediments.

A campaign to save the building was started in 2002 by the actor and comedian John Thomson, but it ended in failure six years later, when it was realised that refurbishing the existing building would cost around £6 million. As of 2005, the building still retained a number of original features, including its gold brocade seats, wall friezes, cornices, and ceiling roses. However, the fabric of the building remained in a poor state of repair, and in January 2008 it was announced once again that the building was to be demolished, and scaffolding was erected at the front in preparation. The building, once considered amongst the most iconic in Manchester, was not regarded as architecturally interesting, and was demolished in the spring of 2008.

Model of the first church at Schaffhausen Some of the defining characteristics of Romanesque architecture is solid walls with few, small, semi-circular, paired windows, groin vaults and in religious architecture rows of columns that separate the nave from the aisles. In the 11th and 12th centuries, architecture in Switzerland can be roughly divided into three zones of influence, the Lombards in the south, Burgundy in the west and Germanic in the north and east, though there is significant overlap. The Lombard and Burgundian craftsmen experimented with barrel and groined vaults and carved capitals and friezes. In the Germanic parts of Europe, the ecclesiastical Romanesque style often included an apse on both the eastern and western ends of the nave, such as was shown in the Plan of St. Gall.

Ancient Greek statuette of a draped woman; 2nd century BC; terracotta; height: 29.2 cm; Metropolitan Museum of Art The Ancient Greeks' Tanagra figurines were mass-produced mold-cast and fired terracotta figurines, that seem to have been widely affordable in the Hellenistic period, and often purely decorative in function. They were part of a wide range of Greek terracotta figurines, which included larger and higher-quality works such as the Aphrodite Heyl; the Romans too made great numbers of small figurines, often religious. Etruscan art often used terracotta in preference to stone even for larger statues, such as the near life-size Apollo of Veii and the Sarcophagus of the Spouses. Campana reliefs are Ancient Roman terracotta reliefs, originally mostly used to make friezes for the outside of buildings, as a cheaper substitute for stone.

The Tavern is a brick, two storey building, sitting close to the road overlooking the Jane Brook and Railway Reserve Heritage Trail. It has large verandas and balustrades on both floors across most of the south and west facing frontages which contributes to the building's impact on its surroundings. The timber veranda detailing has arched underside veranda beams together with unflamboyant ladder friezes; the dominant projecting roof gables over the front veranda; the remnant of rough cast render combined with brickwork on the chimney are of a later 'Bungalow' style, whilst the rendered bands of brickwork, rendered sills and lintels, the double hung timber windows, Georgian mullioned in the top sash and the odd surviving elements of stained glass all express the building's character from the federation period.

She has designed and hand painted various friezes in honour of her ancestor and it is open to the public. Ruskin's Guild of St George continues his work today, in education, the arts, crafts, and the rural economy. Walworth, London Many streets, buildings, organisations and institutions bear his name: The Priory Ruskin Academy in Grantham, Lincolnshire; John Ruskin College, South Croydon; and Anglia Ruskin University in Chelmsford and Cambridge, which traces its origins to the Cambridge School of Art, at the foundation of which Ruskin spoke in 1858. Also, the Ruskin Literary and Debating Society, (founded in 1900 in Toronto, Ontario, Canada), the oldest surviving club of its type, and still promoting the development of literary knowledge and public speaking today; and the Ruskin Art Club in Los Angeles, which still exists.

Goodison's classicizing case furniture owes much of its inspiration to the neo-Palladian designs of William Kent;Geoffrey Beard, "William Kent and the cabinet-makers," The Burlington Magazine (December 1975) pp 367-71. outstanding documented examples are the pair of part-gilded mahogany commodes and library writing- tables Goodison made for Sir Thomas Robinson of Rokeby Hall, Yorkshire, now in the Royal Collection; they have boldly-scaled Greek key fret in their friezes and lion masks gripping brass rings heading scrolling consoles at their corners.Illustrated in Beard 1977, figures 14 and 15 (detail); numerous chests of drawers and library tables in this idiom were made by other London cabinet- makers, including the succeeding royal cabinetmaker, William Vile. Goodison's shop was established at the "Golden Spread Eagle" in Long Acre as early as 1727.

Examples of works developed under his leadership are the development of water supply schemes for Wollongong, Bathurst, Wagga Wagga, Albury and Hunter Valley towns, the outer Wollongong Harbour, Wollongong Breakwater Lighthouse, the building of two bridges for the Penrith Nepean Bridge Co. and Pyrmont Bridge. The gaol is also significant for its association with a number of prominent German businessmen and professionals, including the engineers from the SS Emden who were interned at the gaol during WWI. There are a number of features including the hand painted friezes and other wall art works which decorate the internal walls of a number of the cells, which date from the WWI German Internment period. The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.

Votive marble head of a child found at the Eshmun Temple site; National Museum of Beirut collection, beginning of the 4th century BC Apart from the large decorative elements, carved friezes and mosaics which were left in situ, many artifacts were recovered and moved from the Eshmun Temple to the national museum, the Louvre or are in possession of the Lebanese directorate general of antiquities. Some of these smaller finds include a collection of inscribed ostraca unearthed by Dunand providing rare examples of cursive Phoenician writing in the Phoenician mainland. One of the recovered ostracon bears the theophoric Phoenician name "grtnt" which suggests that veneration of the lunar-goddess Tanit occurred in Sidon.Antoine Vanel, Six "ostraca" phéniciens trouvés dans le temple d'Echmoun, près de Saida, in Bulletin du Musée de Beyrouth, 20, (1967), p.

In ancient Rome, bucrania were frequently used as metopes between the triglyphs on the friezes of temples designed with the Doric order of architecture. They were also used in bas-relief or painted decor to adorn marble altars, often draped or decorated with garlands of fruit or flowers, many of which have survived. A rich and festive Doric order was employed at the Basilica Aemilia on the Roman Forum; enough of it was standing for Giuliano da Sangallo to make a drawing, c 1520, reconstructing the facade (Codex Vaticano Barberiniano Latino 4424); the alternation of the shallow libation dishes called paterae with bucrania in the metopes reinforced the solemn sacrificial theme. While the presence of bucrania was typically used with the Doric order, the Romans were not strict about this.

The stone-based architecture and artwork at the temple site has survived, while the brick temples have not. Among the stone reliefs are some of the earliest known Ramayana friezes, such as the scene where Ravana appears in front of Sita pretending to be a recluse monk begging for food, while in reality seeking that she cross the protective Lakshmana Rekha so that he can kidnap her. Other Ramayana scenes depicted in Nachna site panels are among the most sustained ancient visual narratives of the epic, comparable in significance to those found in the Vishnu temple in Deogarh. However, these are not the oldest known Ramayana depiction such as those found in Bharhut site dated to the 2nd century BCE, and at the Sanchi site generally dated to 1st century BCE to 1st century CE.

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

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

Older wood carving is typically relief or pierced work on flat objects for architectural use, such as screens, doors, roofs, beams and friezes. An important exception are the complex muqarnas and mocárabe designs giving roofs and other architectural elements a stalactite-like appearance. These are often in wood, sometimes painted on the wood but often plastered over before painting; the examples at the Alhambra in Granada, Spain are among the best known. Traditional Islamic furniture, except for chests, tended to be covered with cushions, with cupboards rather than cabinets for storage, but there are some pieces, including a low round (strictly twelve-sided) table of about 1560 from the Ottoman court, with marquetry inlays in light wood, and a single huge ceramic tile or plaque on the tabletop.

Niccolò dell'Abbate was born in Modena, the son of a violinist. He trained together with Alberto Fontana in the studio of Antonio Begarelli, a local Modenese sculptor; early influences included Ferrarese painters such as Garofalo and Dosso Dossi. He specialized in long friezes with secular and mythological subjects, including for the Palazzo dei Beccherie (1537); in various rooms of the Rocca di Scandiano owned by the counts Boiardo (whom he portrayed in the late 1530s) he created 12 frescoes, one for each book of The Aenid, and notably a courtly ceiling Concert composed of a ring of young musicians seen in perspective, Sotto in Su (early 1540s), and the Hercules Room in the Rocca Meli Lupi at Soragna (c. 1540-43), and possibly the loggia frescoes removed from Palazzo Casotti at Reggio Emilia.

1927 – Design and modeling the Lotus Shaft Fountain in the Los Angeles (Central) Public Library Children’s Court as commissioned by Lee Lawrie. 1927 – Design and modeling for Bertram Goodhue'sChrist Church Cranbrook, Bloomfield Hills, Michigan, and the University of Chicago Rockefeller Chapel, Chicago, Illinois as Assistant to Ulric Ellerhusen and Lee Lawrie, Designing Sculptors. 1929–1930 – Design and modeling buttress figures and decorative panels for Nebraska State Capitol, State Library of Pennsylvania Harrisburg Pennsylvania, bronze doors and gates at Pennsylvania State College, Cathedral of St. John the Divine, New York Central Portal and others as Assistant Sculptor to Lee Lawrie. 1931 – Design and modeling of friezes, tower grills and the corner figures on top of the tower with Art Deco design for the Louisiana State Capitol at Baton Rouge, Louisiana as Assistant to Ulric Ellerhusen.

With its stone cellars, attic rooms, detached brick service block, terraced grounds and river frontage, its decorative detailing and demarcation between public and private spaces and between "family" and "servant" areas, Shafston House is important in demonstrating in its form, materials, design, layout, size and detailing the principal characteristics of its class: an evolving, substantial, mid-19th century middle-class riverine house. Since 1851 the house has retained its original siting in an estate overlooking the river, a river frontage and the visual link between the house and the river. The main rooms, in particular the drawing room and dining room contain rare evidence of elaborate high Victorian taste with painted dados and friezes and elaborate joinery and mantlepieces. The character of the internal refurbishment by Dods also survives.

The building's exterior is defined by its characteristic pink-hue sandstone. Designed by Richard A. Waite, the Ontario Legislative Building is an asymmetrical, five-storey structure built in the Richardsonian Romanesque style, with a load-bearing iron frame. This is clad inside and out in Canadian materials where possible; the 10.5 million bricks were made by inmates of the Central Prison, and the Ontario sandstone—with a pink hue that has earned the building the colloquial name of The Pink Palace—comes from the Credit River valley and Orangeville, Ontario, and was given a rustic finish for most of the exterior, but dressed for trim around windows and other edges. There can also be seen over the edifice a multitude of stone carvings, including gargoyles, grotesques, and friezes.

The deity-related reliefs are predominantly Vishnu shown in his various aspects and avatars in the Vaishnavism tradition, but they include Shiva of the Shaivism tradition, Devis of the Shaktism tradition and Surya of the Saura tradition of Hinduism. For example, of the panels when counted clockwise from entrance, #12 is of Saura, #23 is of Durga in her Mahishasuramardini form, #25 to #28 are of Shaiva tradition. The reliefs showing common life of the people include festive scenes, dancers in various mudras, musicians with 13th century musical instruments, couples in courtship and sexual scenes, mothers nurturing babies, hunters and other professionals with pets such as dogs, soldiers, yogi, rishi, individuals in namaste posture, couples praying and others. These reliefs also include numerous friezes showing the story of Prahlada, Hiranyakashipu and Vishnu avatar Narasimha.

Firemen's Memorial at 100th Street The eastern side of Riverside Drive, once a series of luxuriously finished rowhouses interspersed with free-standing nineteenth century mansions set in large lawns, today is lined with luxury apartment buildings and some remaining town houses from 72nd to 118th Streets. The brick-faced Schwab House occupies the site of "Riverside", built for steel magnate Charles M. Schwab, formerly the grandest and most ambitious house ever built on Manhattan Island. Among the more eye-catching apartment houses are the curved facades of The Colosseum and The Paterno and the Cliff-Dwellers Apartments at 96th Street, with mountain lions and buffalo skulls on its friezes. The Henry Codman Potter house at 89th Street is one of the few remaining mansions on Riverside Drive; it houses Yeshiva Chofetz Chaim.

An oblique view of the residence A view from the atrium with lateral staircase The former-residence is implanted in the northeast corner of Praça Carlos Alberto, delimited laterally by the Travessa das Oliveiras and encircled by buildings dating from the 18th and 19th century. The building is in near proximity to the Third Order Carmelites' Church, the old Carmelite Convent, Fountain of Leões, the old Faculty of Sciences Building of the University of Porto, the Clerics Tower and the former courthouse and jail of Porto. The horizontal plan, composed of three architectural nuclei consisting of a principal building, lateral annex and triangular tower, with differentiated and articulated ceilings covered in roof tile. The facades are plastered and painted white, encircled by granite emassemente, pilastered cornerstones and decorated with cornices and friezes.

In 1603, in the second edition of his treatise Iconologia, Cesare Ripa associated the symbol with the Italia turrita, and creates a modern version of Italy's allegorical personification: woman with a star on top of a towered crown, therefore supplied with the Corona muralis and the Stella Veneris. Ripa's treatise inspired many artists like Canova, Bisson, Maccari, Balla, Sironi, until the 1920s. The allegorical image of the towered and star- topped Italy became popular during the unification of Italy, spreading through a large iconography of statues, friezes and decorative objects, tourist-guide covers, postcards, prints and magazines' illustrations. During the unification of Italy, evoking Aeneas' journey toward the Italian coasts, patriot Giuseppe Mazzini mentioned again the national star's myth that afterwards was recovered by Cavour and the new Savoyard kings of Italy.

Collective memory scholarship is a branch of the broader field of the sociology of knowledge. Schwartz’s contribution to the latter arises from the French tradition, notably, Emile Durkheim and Marcel Mauss’s Primitive Classification, and it expands Robert Hertz’s discoveries on the preeminence of the right hand and lateral symbolism, Claude Lévi-Strauss on binary classification, and Rodney Needham’s writings on symbolic classification systems. In his analysis of acquisition dates and content of the U.S. Capitol Building’s paintings, statues, busts, and friezes, for example, Schwartz finds art manifesting a binary structure of historically “hot” and “cold” periods. Elsewhere, he dissects the universal tendency to map social inequality into vertical oppositions, and he explains why vertical metaphors, without which inequalities could not be conceived, are a priori categories based on certain universals of social experience.

At first having to do with all the kinds of work undertaken, glass, mosaics, metals, wood, embroideries, hangings, wall and ceiling coverings, painting or anything else decoratively used in buildings, she was the first woman thus employed. Later, having developed marked ability in plastic art, she had special charge of their pottery and modeling department. Her ornamental relief-work, panels and friezes were often used with heads and figures by Augustus Saint-Gaudens, and combined with work by Charles Caryl Coleman, Maitland Armstrong and other well known artists in the decoration of public and private buildings in New York and different parts of the country. Her designs for memorial and other windows, for decoration of interiors and for different purposes were used in churches and homes, on both east and west coasts.

In five thematic cycles it commemorates the Roman Emperor Lucius Verus, who established a camp in Ephesus during his Parthian Campaign of 161-165 AD. The individual pieces have been arranged in the form of a monumental altar, but this is only a guess at their correct arrangement, as they were not found in their original state.Archiv: Ephesos, Partherdenkmal - Aspekte der Bauforschung Institut für Kulturgeschichte der Antike. The friezes have a total length of about 70 metres, of which 40 metres are on display. Bronze Statue of an Athlete This Roman statue from the first century AD, copied from a Greek original from the fourth century BC, has been recreated from 234 fragments; it shows a young athlete cleaning his strigil, an implement used to wash the body after a contest.

The migration of the building workshop of the Naumburg Master, from Northern France over the Middle Rhine area up to the eastern boundaries of the German Empire and further on to southwestern Europe, reflects the extensive European cultural exchange during the High Middle Ages. Choir screens West choir Naumburg This mural choir screen type combines high artistic architecture, ornamentation and figural sculptures. The plant décor of the west choir, due to its exceptional accuracy and the great variety of shapes to be seen on the capitals, friezes and corbels (corydalis, mugwort, hazel and vine), softens the sharpness and blocky features of the partition architecture and emphasises the organic character of the architecture. The relief frieze is one of the most sophisticated and formally most perfected arrangement of the Passion of Christ among the preserved sculptural ensembles from the 13th century throughout Europe.

The building takes up the place of three medieval parcels. The first Artus Manor, which was actually called "The Public House/Meeting House" or "The Club House" (the name Artus Manor emerged only at the beginning of the 17th century)Magdański Marian, Dwór Artusa w Toruniu, [in:] Tęcza: ilustrowane pismo miesięczne, nr 8, p. 39, 1938 . was built in the years 1385-1386. In 1466 the Second Peace of Thorn was signed here. The building was later reconstructed and renovated, especially in the 17th century, when a rich painting decoration of the facade was made, on which friezes with images of kings from Władysław Jagiełło to Sigismund III Vasa were placed,Mansfeld Bogusław, Zespół Zabytkowy Torunia, p. 23, Warszawa 1983. known from a series of drawings created in the years 1738-1745 showing views of Toruń and the surrounding area prepared by Steiner.

The street front in the rue de Jouy presents a symmetrical, austerely unornamented range of two-storey buildings with a rusticated central arched porte cochère leading between ranges of stabling to the entrance court and matching end pavilions of three storeys, crowned with tall sloping slate roofs à la française, which are pierced with pedimented dormers. The cour d'honneur is enclosed by the five-bay principal corps de logis, corner pavilions and the identical flanking wings, of two storeys equal in value, of paired windows of four-over twelve panes framed in molding between lightly panelled piers. The keystones of the windows are integrated with sculptured friezes that run above them and serve as supports to the cornices, tying together all the elements of the design. Garlands of fruit and leaves, human and animal masks and carved draperies provide a rich decor.

This development is also connected with the changes in iconography and with the emergence of an ideology of royalty intended to support the construction of a new kind of political entity. The elites played a role as religious intermediaries between the divine world and the human world, notably in sacrificial ritual and in festivals which they organised and which assured their symbolic function as the foundation of social order. This reconstruction is apparent from the friezes on the great alabaster vase of Uruk and in many administrative texts which mention the transport of goods to be used in rituals. In fact, according to the Mesopotamian ideology known in the following period, human beings had been created by the gods in order to serve them and the goodwill of the latter was necessary to insure the prosperity of society.

The remains of the Treasury of the Cnidians are situated just next to the Sacred Way close to the Siphnian Treasury to which they bear resemblance, to the exception of the smaller size. It was a marble building, erected before Cnidus was conquered by the Persians in 544 B.C. Its features remind of the mid-sixth century B.C. The treasury was built in the Ionian order, prostyle, but there is not much information on the exact plan of its elevation and the roof. It is possible that there were korae (Caryatids) on the façade instead of plain columns. At the time of the Great Excavation it was thought that the friezes and sculpted decoration of the Siphnian Treasury actually originated from the Treasury of the Knidians, a misinterpretation which led archaeologists to overestimate its artistic and aesthetic value.

Having attended the Rome Institute of Fine Arts, Sartorio presented a Symbolist work at the 1883 International Exposition of Rome. He formed friendships with Nino Costa and Gabriele D’Annunzio, and associated with the painters and photographers of the Roman countryside. He won a gold medal at the Paris Universal Exhibition of 1889 and met the Pre-Raphaelites in England in 1893. His participation in the Venice Biennale began in 1895 with the 1st International Exposition of Art of Venice, after which he taught at the Weimar Academy of Fine Arts from 1896 to 1898. His period of greatest renown came at the beginning of the century, when he produced decorative friezes for the 5th Esposizione Internazionale d’Arte of Venice (1903), the Mostra Nazionale of Fine Arts (Milan, Parco Sempione, 1906) and Palazzo Montecitorio in Rome (1908–12).

LaFarge, a fellow of the American Institute of Architects (AIA), often served on advisory committees for the schools of architecture at Columbia University, M.I.T. and Princeton University, and also as trustee and secretary for the American Academy in Rome. Roosevelt was also a prime mover behind the creation of the New York Zoological Society, for whom the partners designed the original nucleus of buildings (1899-1910, now called the Astor Court) as a series of pavilions symmetrically grouped round the large sea lion pool, all in a sturdy brick and limestone Roman Ionic and Doric, with the heads of elephants and rhinos, lions and zebras projecting festively from panels and friezes. The central Administration Building (1910), offering an arched passageway to the zoo's outdoor spaces, has complicated domed spaces formed of Guastavino tile. University commissions were also in their oeuvre.

Roman rinceau decoration on the Ara Pacis Drawing, frieze with scroll or rinceau, 1775–80 In architecture and the decorative arts, a rinceau (plural rinceaux; from the French, derived from old French rain 'branch with foliage') is a decorative form consisting of a continuous wavy stemlike motif from which smaller leafy stems or groups of leaves branch out at more or less regular intervals. The English term scroll is more often used in English, especially when the pattern is regular, repeating along a narrow zone. In English "rinceau" tends to be used where the design spreads across a wider zone, in a similar style to an Islamic arabesque pattern. The use of rinceaux is frequent in the friezes of Roman buildings, where it is generally found in a frieze, the middle element of an entablature, just below the cornice.

The visual imagery of the 1902 designs, replete with suggestions of architectural features such as caryatids, friezes, plinths, marble columns etc. (many of them iconographically suited to the persons portrayed), was paralleled by an equally eclectic approach to typography, several different fonts being employed for letters and numerals, and several different styles of curvature being applied to some text. One notable feature of the designs is the tendency of pictorial details to protrude into left and right borders of the stamps: the arms, knees or robes of allegorical statues, the tops of flagstaffs, the beaks of eagles, the shields enclosing the numerals--even a sailor's grappling hook and a marine's musket. All fourteen original designs were the work of Raymond Ostrander Smith, whose designs for the Pan-American series and the Trans-Mississippi Issue had won much acclaim.

In the remains under the church was found this arcade of the first mosque, composed of three columns with Roman and Visigothic capitals Remains of a Christian medieval cemetery The Visigothic pilaster, for some early Christian, is one of the oldest pieces in which are represented 4 scenes of the life of Christ, who despite the scraping of the faces by the Muslims, could be distinguished: Blind, Resurrection of Lazarus, Christ and the Samaritan woman in the well and Hemorroísa Healing. The level of excavation has not gone deep into the Visigoth or Roman substrate. However, already surprised the great amount of Visigothic reliefs forming friezes and Roman cornices embedded in the walls. In 2004 the Consorcio group discovered the remains of the first (Umayyad) Mosque buried several meters under the church, the archaeologists have recovered and valued.

Besides inscriptions and statues there are numerous rock cut sculptures depicting various Brahmanical images. The hill is equally revered by the Jains who believe that their 12th Tirthankara Shri Vasupujya attained nirvana here on the summit of the hill. Mandar Parvat The depiction of the Churning of the Ocean of Milk became very popular in Khmer art, perhaps because their creation myth involved a naga ancestor. It is a popular motif in both Khmer and Thai art; one of the most dramatic depictions is one of the eight friezes that can be seen around the inner wall of Angkor Wat--the others being the Battle of Kurukshetra, Suryavarman's Military Review, scenes from Heaven and Hell, the battle between Vishnu and the asuras, the Battle between Krishna and Banasura, a battle between the gods and asuras, and the Battle of Lanka.

The complex combined Dutch style fortifications with a palace built to Italian design (inspirations of Palazzo Farnese in Caprarola are visible in the plan of the complex), mannerist Polish decoration and some other, presumably Dutch elements (octagonal tower resembling Binnenhof's Torentje in The Hague, spires). The palace was destroyed during the Deluge and currently remains in ruins. Interior of the Sephardic Synagogue (1610-1620), Jewish- style mannerism (influenced by Lublin renaissance), Zamość Lublin region created its own style with folk motives (Kazimierz Dolny), while the urban mannerism in Greater Poland replaced the gothic gables with Italian style arcades, tympanums, friezes and pillars in tuscan order (Poznań). Warsaw, as one of the main cities of the Polish-Lithuanian Commonwealth and due to its role as seat of Parliament and King, was a place of meetings of cultures.

In terms of towers above the sanctum, they explored several superstructures: shikhara (tapering superstructure of discrete squares), mundamala (temple without superstructure, literally, garland with shaved head), rekhaprasada (smooth curvilinear superstructure also based on squares prevalent in northern and central India), Dravidian vimana (pyramidal style of southern India) and Kadamba-Chalukya Shikhara (a fusion style). The layout typically followed squares and rectangles (fused squares), but the Aihole artists also tried out prototypes of an apsidal layout (like a Buddhist or Church hall). In addition, they experimented with layout of mandapa within the shrines, the pillars, different types of windows to let light in, reliefs and statues, artwork on mouldings and pillars, bracket designs, ceiling, structure interlocking principles and styles of friezes. In some temples they added subsidiary shrines such as Nandi-mandapa, a (wall) and styles of (gateway).

The walls of the temple from the temple's base through the crowning elements are ornamented with reliefs, many finished to jewelry- quality miniature details. The terraces contain stone statues of male and female musicians holding various musical instruments including the vina, mardala, gini, Other major works of art include sculptures of Hindu deities, apsaras and images from the daily life and culture of the people (artha and dharma scenes), various animals, aquatic creatures, birds, legendary creatures, and friezes narrating the Hindu texts. The carvings include purely decorative geometric patterns and plant motifs. Some panels show images from the life of the king such as one showing him receiving counsel from a guru, where the artists symbolically portrayed the king as much smaller than the guru, with the king's sword resting on the ground next to him.

The staircase at the entrance to the Vatican Museums by Antonio Maraini, 1932 Plaque at the base of the staircase of the Vatican Museums As already mentioned, the esteem of Antonio Maraini permitted the Marinelli Foundry to establish a working relationship with the Vatican State. After casting the friezes of the monumental staircase entrance to the Vatican Museums, the Foundry produced the tomb and the death mask (the latter in silver) of Pope Pius XI commissioned to the artist Antonio Berti, and the ‘Porta Santa’ (Holy Door) of St. Peter’s Basilica carved by Maestro Vico Consorti. Such collaborations subsequently permitted Marinelli to receive additional commissions from churches in Rome. These include the central doors of the Basilica of Santa Maria Maggiore, after the drawings of Ludovico Pogliaghi, and in 1951, the doors of Sant’Eugenio designed by the engineer Enrico Galeazzi.

The friezes of the marble- clad buildings surrounding Killian Court are carved in large Roman letters with the names of Aristotle, Newton, Franklin, Pastevr, Lavoisier, Faraday, Archimedes, da Vinci, Darwin, and Copernicvs; each of these names is surmounted by a cluster of appropriately related names in smaller letters. Lavoisier, for example, is placed in the company of Boyle, Cavendish, Priestley, Dalton, Gay Lvssac, Berzelivs, Woehler, Liebig, Bvnsen, Mendelejeff [sic], Perkin, and van't Hoff. The names are carved in the classic Roman square capitals using the Latin alphabet, with "V" instead of "U"; also, "I" should have been used instead of "J", since the latter letter of each pair did not exist in ancient times. Inexplicably, the letter "J" is used anyway, along with "W", which are both blatant anachronisms in the typographic styling of the inscriptions.

Modern visitors can also see a tall pink granite obelisk: this one of a matching pair until 1835, when the other one was taken to Paris where it now stands in the centre of the Place de la Concorde. Through the pylon gateway leads into a peristyle courtyard, also built by Ramesses II. This area, and the pylon, were built at an oblique angle to the rest of the temple, presumably to accommodate the three pre-existing barque shrines located in the northwest corner. After the peristyle courtyard comes the processional colonnade built by Amenhotep III – a corridor lined by 14 papyrus-capital columns. Friezes on the wall describe the stages in the Opet Festival, from sacrifices at Karnak at the top left, through Amun's arrival at Luxor at the end of that wall, and concluding with his return on the opposite side.

Cave 3 is earliest dated Hindu temple in the Deccan region. It is dedicated to Vishnu; it is the largest cave in the complex. It has intricately carved friezes and giant figures of Trivikrama, Anantasayana, Vasudeva, Varaha, Harihara and Narasimha. Cave3's primary theme is Vaishnavite, though it also shows Harihara on its southern wallVK Subramanian (2003), Art Shrines of Ancient India, Abhinav, , page 47 half Vishnu and half Shiva shown fused as one, making the cave important to Shaivism studies.TA Gopinatha Rao (1993), Elements of Hindu iconography, Vol 2, Motilal Banarsidass, , pages 334–335 Facing north, Cave 3 is 60 steps from Cave2 at a higher level. Cave3's verandah is in length with an interior width of ; it has been sculpted deep into the mountain; an added square shrine at the end extends the cave further inside.

In ancient Greece they appear in many architectural friezes, and in bands on the pottery of ancient Greece from the Geometric Period onwards. The design is common to the present-day in classicizing architecture. The meander is a fundamental design motif in regions far from a Hellenic orbit: labyrinthine meanders ("thunder" patternSee J. E. L., description of a Late Chou hou at the Boston Museum of Fine Arts, in "A Chinese Bronze", Bulletin of the Museum of Fine Arts 27 (August 1929:48).) appear in bands and as infill on Shang bronzes, and many traditional buildings in and around China still bear geometric designs almost identical to meanders. There is a possibility that meanders of Greek origin may have come to China during the time of the Han Dynasty by way of trade with the Greco-Bactrian Kingdom.

A rear profile view of Kaitabheshvara temple at Kubatur Old Kannada inscription (1241-1249 A.D.) at Kaitabheshvara temple The sculptural motifs and friezes, the decorative articulation, the shape of superstructure (shikhara) and the design of pillars in this temple are those commonly found in other Western Chalukyan temples. On the outer walls of the shrine and vestibule are pilasters of two types; full length pilasters that reach up to the heavy though inconspicuous eaves, and half length pilasters that support miniature decorative towers (Aedicula) of various kinds (such as latina and bhumija).Foekema (1996), p28 The sculptures of Mahishamardini ( a form of the Hindu goddess Durga, Bhairava ( a form of the god Shiva), and Ganesha can be found on the main tower. The base of the outerwall of the open hall (mukhamandapa) has decorative motifs, pilasters surmounted by miniature decorative pyramidal shaped turrets with gargoyle faced (kirtimukha) scrolls.

The female staff had the chance to learn, or perfect, several more or less popular embroidery stitches; following a social welfare concept, though, they were not only engaged in their work: many of them also learned to read and write, as well as acquiring basic personal hygiene and cleaning skills, which were also required on the job. Page one of the brochure for the “Scuola di Ricami Ranieri di Sorbello”. Romeyne, as well as being head of the school, often prepared patterns for embroidering: she had studied art and drawing, therefore she was skilled at reproducing on sketchbooks the ornaments and friezes she saw on architectural structures, artefacts or painted images.Claudia Pazzini, Gli album di acquerelli di Romeyne Robert dalla Fondazione Uguccione Ranieri di Sorbello, in OttocentoCittà. Paesi e borghi umbri e dell’Italia centrale nei dipinti del XIX secolo, Città di Castello, Edimond, 2004, pages 189-197.

The first director of the National Gallery was Max Jordan, who was appointed in 1874, before the building was completed. When the building opened, in addition to Wagener's collection, it contained over 70 cartoons for friezes on mythological and religious subjects by Peter von Cornelius; high-ceilinged galleries were designed to accommodate them. Wagener's collection was not limited to German art; in particular, it included Belgian artists who were popular at the time; and under Jordan the gallery's holdings rapidly came to include an unusually large collection of sculpture and a drawings department. However, Jordan was hampered throughout his tenure by the Regional Art Commission, which was made up of representatives of the academic art establishment and resisted all attempts to acquire modernist art.Eberhard Roters, "The Birth Pangs of Modernism", in Berlin/New York: Like and Unlike: Essays on Architecture and Art from 1870 to the Present, ed.

Like a veritable stone altarpiece, this façade is conceived in two orders superposed on Corinthian columns and curved and divided entablatures, supported on a base decorated with coats of arms and floral themes. The ornate decor of pilasters and friezes, the superposition of vases, and the airy top, with a much reduced third rank of imagery make this façade a singular element of the Andalucian Baroque. Paintings by Francisco Zurbarán in the Museo de Cádiz, originally from the monastery. In the interior, of particular note are the choir stalls of the Coro de Padres, a work in carved wood, completed in 1550; the replacement of the old altarpiece in the Flemish style by Alejandro de Saavedra,José Luis Romero Torres, Bernardo Simón de Pineda y su Aprendizaje en Cádiz con el Arquitecto de Retablos Alejandro de Saavedra , Laboritorio de Arte 19 (2006) 173–194. p.

He regards these paintings as now being essential to his artistic practice as his paintings on canvas and paper, which are bound by more conventional notions of portability and transferability. Important exhibitions of these wall paintings have taken place at Art Omi in 2014, The McNay Art Museum in 2015, and at the Museum of Art, Architecture and Design at the University of California, Santa Barbara, also in 2015. In 2018, Westfall worked closely with Queens-based glass fabricator Depp Glass to create the 47 laminated glass panels installed at the 30 Ave Subway Station in New York City. The scale, mirrored glass, and merging movement invoke not only the repertoire of processional themes in classical friezes, but also the movement of public transportation in our contemporary life, in particular the shuttering of light through the mezzanine windows and the bustle of commuters in our mass transit system.

This latter finding was through restoration efforts of the 1970s which found stencilled decoration on the main ground floor with bands at several levels along with gilded cornices and ceiling roses. In Wardell's original dining room, the walls were a combination of greens, creams and terra cotta in six individual friezes above a brown dado, with sill level emphasized by linking stripes. The entrance hall and the grand dining room had ceilings hand painted in gold, red and brown ochres and spatially the dining room dominated the floor with a comfortable 46 feet by 24 feet in length. The entrance hall had a porter's station, and retains its marble floor edging and a multicoloured arched screen and apart from the hall and dining room the ground floor also included two billiard rooms and a smoking room which opened through a veranda into the courtyard.

Blacker is considered as "one of the most important names" in 20th century sporting art by Stella A. Walker. A former art student prior to his days as a jockey, in 1987, he produced his first work: a life-size sculpture of Red Rum at Aintree Racecourse, unveiled one year later by the Princess Royal. He has produced numerous works across the UK and abroad; including racecourse bronzes of Best Mate at Cheltenham, Generous at Epsom, Persian Punch at Newmarket, Desert Orchid at Kempton Park, Makybe Diva at Flemington in Melbourne, Northern Dancer at Woodbine in Canada and an 18-foot stallion in Saudi Arabia. In 2014 he sculpted a series of bronze friezes featuring a number houses in a Thompson's Gallery exhibit Farewell, Leicester Square commemoration of the centenary of the First World War, which he says were based on the poetry of the era.

Parco Cafarella, Rome A spring and a grove once sacred to Egeria stand close to a gate of Rome, the Porta Capena. Its waters were dedicated to the exclusive use of the Vestals.Plutarch, "The parallel lives, Numa Pompilius" The ninfeo, a favored picnic spot for nineteenth-century Romans, can still be visited in the archaeological park of the Caffarella, between the Appian Way and the even more ancient Via Latina,Information about the Park of the Caffarella nearby the Baths of Caracalla (a later construction). In the second century, when Herodes Atticus recast an inherited villa nearby as a great landscaped estate, the natural grotto was formalized as an arched interior with an apsidal end where a statue of Egeria once stood in a niche; the surfaces were enriched with revetments of green and white marble facings and green porphyry flooring and friezes of mosaic.

The car was marketed as a unique combination of comfort and sporting performance, and the slogan that appeared in sales material was "Le quattro poltrone piu veloci del mondo" ("the four fastest seats in the world"). The choice of Athens for the press launch was connected to the car's new name, Fidia, which was the name (commonly spelled "Phidias" by anglophone classicists) of the artist who some 24 centuries earlier had supervised creation of the friezes which originally decorated the Parthenon (and which in 1816 turned up in the British Museum, following their controversial removal in 1802 by Lord Elgin). In some ways, Athens was not a good choice for a press launch: locally available fuel was of too low an octane for the (single) car made available to journalists and the brief test drive round the city suburbs was characterized by "horrible pinking".

The arch is heavily decorated with parts of older monuments, which assume a new meaning in the context of the Constantinian building. As it celebrates the victory of Constantine, the new "historic" friezes illustrating his campaign in Italy convey the central meaning: the praise of the emperor, both in battle and in his civilian duties. The other imagery supports this purpose: decoration taken from the "golden times" of the Empire under the 2nd century emperors whose reliefs were re-used places Constantine next to these "good emperors", and the content of the pieces evokes images of the victorious and pious ruler. Another explanation given for the re-use is the short time between the start of construction (late 312 at the earliest) and the dedication (summer 315), so the architects used existing artwork to make up for the lack of time to create new art.

Mack (1974), together with by Kurt Forster (1976) and Howard Saalman (1966) have interpreted the evidence differently, arguing that that work on the facade would have awaited the acquisition of the third property along the Via della Vigna Nuova and was stimulated by the engagement of Rucellai's son Bernardo to Piero di Cosimo de' Medici's daughter Nannina in 1461. According to this theory it could only have been after the betrothal, that the pairing of clearly identifiable Medici devices with those of the Rucellai in the friezes could have been permissible. The same is case for the Medici interlocking rings insignia that occupy the spandrels of the windows. That would postpone construction of the Rucellai facade to a date after 1461 and calls into question its primacy over the almost identical design used for the Palazzo Piccolomini (designed by Bernardo Rossellino 1459-62) in the papal city of Pienza.

As evidence of James Wood's eccentricity and religious fervour Lucy described the interior of the house he bought and had decorated in preparation for his marriage and the family he intended to raise there. In every room, painted friezes carried religious mottos such as "He that giveth to the poor shall not lack", "Honour thy father and thy mother" and "The soul is not where it lives but where it loves". But what she described as "the triumph of eccentricity" was the drawing room. Her father had visited the Holy Land and had brought back many things with the idea of creating what she described as "a holy and uplifting room". There was a continuous frieze of a painted landscape representing the journey from Jerusalem to Jericho, while from the ceiling hung antique brass lamp-holders such as might have hung in Solomon’s Temple.

The importance of rice in Indonesian culture is demonstrated through the reverence of Dewi Sri, the rice goddess of ancient Java and Bali. Evidence of wild rice on the island of Sulawesi dates from 3000 BC. Historic written evidence for the earliest cultivation, however, comes from eighth century stone inscriptions from the central island of Java, which show kings levied taxes in rice. The images of rice cultivation, rice barn, and mouse pest investing a rice field is evident in Karmawibhangga bas-reliefs of Borobudur. Divisions of labour between men, women, and animals that are still in place in Indonesian rice cultivation, were carved into relief friezes on the ninth century Prambanan temples in Central Java: a water buffalo attached to a plough; women planting seedlings and pounding grain; and a man carrying sheaves of rice on each end of a pole across his shoulders (pikulan).

Designed by Jean Omer Marchand and John A. Pearson, the tower is a campanile whose height reaches 92.2 m (302 ft 6 in), over which are arranged a multitude of stone carvings, including approximately 370 gargoyles, grotesques, and friezes, keeping with the Victorian High Gothic style of the rest of the parliamentary complex. The walls are of Nepean sandstone and the roof is of reinforced concrete covered with copper. One of four grotesques at the corners of the Peace Tower At its base is a porte-cochère within four equilateral pointed arches, the north of which frames the main entrance of the Centre Block, and the jambs of the south adorned by the supporters of the Royal Arms of Canada. Near the apex, just below the steeply pitched roof, are the tower's 4.8 m (16 ft) diameter clock faces, one on each of the four facades.

In 1988, the municipal council acquired the building of the Teatro Circo for 30,0000 contos. Around 2000,The first phase of the remodelling and requalification project, began with the restoration and safeguarding of elements considered more significant to the property, specifically the public areas, great hall, foyer, roof and two principal facades (with the maintenance of existing decorations. new remodelling under the supervision of Sérgio Borges (budgeted at around 2.6 million contos) with funds from European Union and Ministry of Culture (Rede Nacional de Teatros e Cine-Teatros and Rede Municipal de Espaços Culturais) partnerships: the rejuvenated Circo was re-inaugurated on 27 October 2006,with an expansion project, interior and exterior remodeling by Architect Sérgio Borges, serving the municipality of Braga. with profound changes in terms of interior compartmentation, colors and finishes, both interior and exterior, recreating elements and decorative friezes sought to resume the original work after consecutive years of alterations and adaptations, which made the original building uncharacteristic.

But the builders in question could also fashion parts quite by themselves when none could be found ready-made for reuse. Among those prepared anew by the second-phase builders are the tympanum reliefs (for the four pediments), each of which displayed a central leaf- covered Christian cross-monogram surrounded by rich acanthus vine scrolls. The Tempietto's builders themselves also cut the Christian Latin inscriptions in ancient Roman block capitals that one sees in the friezes of the porticoes' gables: :+SCS DEVS ANGELORVM QVI FECIT RESVRECTIONEM+ from the main west front, still extant :+SCS DEVS APOSTOLORVM QVI FECIT REMISSIONEM+ from the south portico, lost :+SCS DEVS PROFETARVM QVI FECIT REDEMPTIONEM+ from the north portico, lost Inside, in the apse at the east end of the small nave, one finds extensive remains of some early medieval frescoes depicting the Savior, and Sts. Peter and Paul, and then above, on the apsidal wall, paintings of two angels in medallions, and at center, a medallion with a Crux Gemmata.

The Mutual Building (), in Cape Town, South Africa, was built as the headquarters of the South African Mutual Life Assurance Society, now the "Old Mutual" insurance and financial services company. It was opened in 1940, but before the end of the 1950s—less than 20 years later—business operations were already moving to another new office at Mutual Park in Pinelands (north east of the city centre); since then Old Mutual has become an international business and their present head office is in London. The building is a fine example of art deco architecture and design, and it has many interesting internal features such as the banking hall, assembly room, directors' board room; external features include a dramatic ziggurat structure, prismoid (triangular) windows, and one of the longest carved stone friezes in the world. It has been said that it provides evidence of the colonial attitudes of the time, and the "ideals of colonial government promulgated by Rhodes in the late nineteenth century".

Buddhist stupas during the late Indo-Greek/Indo-Scythian period were highly decorated structures with columns, flights of stairs, and decorative Acanthus leaf friezes. Butkara stupa, Swat, 1st century BC.Source:"Butkara I", Faccena Possible Scythian devotee couple (extreme left and right, often described as "Scytho-Parthian"),"Gandhara" Francine Tissot around the Buddha, Brahma and Indra. Excavations at the Butkara Stupa in Swat by an Italian archaeological team have yielded various Buddhist sculptures thought to belong to the Indo-Scythian period. In particular, an Indo- Corinthian capital representing a Buddhist devotee within foliage has been found which had a reliquary and coins of Azes buried at its base, securely dating the sculpture to around 20 BC.The Turin City Museum of Ancient Art Text and photographic reference: Terre Lontane O2 A contemporary pilaster with the image of a Buddhist devotee in Greek dress has also been found at the same spot, again suggesting a mingling of the two populations.

As a San Francisco Chronicle article described in 2004, Lincoln Manor's "detached, stucco and wood-sided, two-story Edwardian villas with small front lawns, mix classical friezes with Arts and Crafts exposed roof rafters." A number of the model homes were designed by architect Ida McCain, who designed hundreds of homes in San Francisco in the 1910s, which made her one of the most prolific female architects from the 1910s to the 1930s. McCain went on to design a handful of other homes in Lincoln Manor, including the home of prominent real estate developer Stephen A. Born, who developed Lincoln Manor and lived in the neighborhood at the corner of 38th Avenue and the alley known as "Auto Drive". The San Francisco Chronicle also attributed to architect McCain the four residences starting on the corner of 38th Avenue and Shore View Avenue heading north on 38th Avenue, which originally were the residences of Frederick J. Linz, Margaret Owens, W.B. Hoag, and Stephen A. Born, respectively.

The cathedral and church hall (Parish Institute) remain particularly fine examples of their type. The cathedral is an excellent illustration of the imposition in an exotic location of the late 19th-century colonial fashion for erecting Gothic Revival style church buildings, but adapted to local conditions (including climate, lack of local raw resources, the cost of importing materials, and the fledgling nature of the local parish) – as illustrated by the use of concrete rather than stone or brick, the provision of timber ventilation friezes along the top of the side walls of both nave and sanctuary/chancel, the modification of the architect's original design to include doors along the length of the aisles, and the construction in stages. The interior of the cathedral is highly intact, and contains many memorials. The late 19th/early 20th-century sections of the cathedral are important in illustrating the range of the ecclesiastical work of architect John Hingeston Buckeridge, who was the Brisbane Anglican Diocesan architect from 1887 to 1902.

The construction of the Castle mixes Arab-Norman features with others typical of the castles built during the Hohenstaufen rule of southern Italy: the cube shape recalls Arabic architecture; the square towers, although incorporated into those of the façade, reflect Norman architectural style, as also the battlements; and the round tower recalls aspects of Frederick II's times architecture. The structure is on three floors, the first floor for the servants, with the essential services, the second for the nobility, with the sumptuous Cappella Palatina, and the third for the court and for guests. The Cappella Palatina ("Palace Chapel") was built in 1683 by the brothers Giuseppe and Giacomo Serpotta, with a great profusion of precious marble, stuccowork, putti, and friezes that commemorate the most resplendent moments in the history of the House of Ventimiglia. Here is kept the holy relic of the skull of Saint Anne, in an urn that acts as the pedestal to the sculpted bust of Castelbuono's patron saint.

One of the first known representations of the Buddha, Gandhara, in pure Hellenistic style and technique: Standing Buddha (Tokyo National Museum). Height: about 1 meter. The Indo-Greek may have initiated anthropomorphic representations of the Buddha in statuary, possibly as soon as the 2nd-1st century BCE, according to Foucher and others. Stupa constructions of the time of Menander, such as the Butkara stupa, incorporated niches which were intended to place statue or friezes, an indication of early Buddhist descriptive art during the time of the Indo- Greeks."They (the niches) were intended to hold a figured panel, relief-work, or something of the kind" Domenico Facenna, "Butkara I" Also Chinese murals are known which describe Emperor Wu of Han worshipping Buddha statues brought from Central Asia in 120 BCE. A Chinese fresco in the Mogao Caves indicates that gilded statues of the Buddha were brought to China from Central Asia in 120 BCE.

Small cast-iron balconies run across the terrace at first-floor level (although number 5's has been lost), and some houses have canopy-style verandahs as well. A nearly continuous cornice (absent on numbers 13 and 19) spans the terrace; some houses also have a second cornice above this. Several houses have fanlights with coloured glass, and other non-standard details include decorative stucco panelling at number 5; paterae (circular motifs), triglyph-decorated friezes and other Classical-style ornamentation in some of the porch entablatures; original window-guards of iron; a blocked doorway flanked by pilasters at number 20; and many original sash windows. ;26–37 Regency Square 26–37 Regency Square These 12 houses, arranged along the sea-facing north side in the form of two wings flanking a four-house centrepiece, are the focal point of the square, forming "a kind of palace front" topped with a pediment displaying in prominent black lettering.

Apse of the church Toledo Art Circle The Iglesia de San Vicente is a church located in Toledo (Castile-La Mancha, Spain), it appears as a parish already in 1125, although, there is documentation that speaks of its being founded by Alfonso VI shortly after his conquest of the city in 1085. The current building is the result of successive reconstructions, transformations and additions. Thus, the oldest element preserved is the apse which, by its structure, does not appear before the 13th century, following a type very similar to that of the Cristo de la Vega, in which the exterior stands out, and the straight section, which precedes the apse proper. It also coincides with that date the use of friezes in the corner, separating horizontally the bodies of arches, and the same typology of arches, which repeats the folded half-points and the horseshoe pointed, covered by lobed, appearing in the Legend of Cristo de la Vega.

The front facade (from the reflecting pool and monument of the Archangel Michael) showing the characteristic two staircases, three floors and bell tower The building is central located in the hub of the town, erected at the eastern end of an block that makes up the urban nucleus of the city of Ponta Delgada, encircled by roadways, pedestrian crosswalks and Portuguese pavement stone with reflecting pool surmounted by a monument to the archangel Michael (from which the island obtains its name). To the east is another square (Praça Gonçalo Velho), marked by the Portas da Cidade and a statue of the explorer Gonçalo Velho, opposite the parochial church of São Sebastião. The municipal building has an irregular trapezoidal plan and rectangular bell tower addorsed to the right lateral facade, covered in tiled roofing. The three floors, with stonework embrasures, pilastered cornerstones and decorative friezes, are also decorated with diamond-shape points and cornices.

On the wall of the building there is an opening, locked by a wrought iron gate, which leads to the internal staircase that leads to the upper floors, next to the gate, there are three and two doors, respectively, to the municipal offices and the coffeehouse. There is a marble medallion with the effigy of Francesco Montanari (Colonel of Mirandola who died during the expedition of the Thousand) and some commemorative plaques of Filippo Corridoni (1898), of the partisans who died during the Resistance in the Second World War and the anniversary of the award of the title of City (1597–1997). The upper part of the north facade, made of exposed bricks, is decorated with four biforas with marble columns and a French window, all embellished with terracotta friezes with floral and zoomorphic motifs, similar to those of the nearby Bergomi Palace. The biforas, which have Russian-style sliding shutters that enter the cavity of the wall, are placed symmetrically and in line with the columns of the portico below.

Section of Trajan's Column, Rome, showing the spiral friezes that represent the best surviving evidence of the equipment of imperial Roman soldiers Surviving fragment of a Roman military diploma found at Carnuntum in the province of Noricum (Austria) Specimen Vindolanda tablets Except for the early 1st century, the literary evidence for the Principate period is surprisingly thin, due to the loss of a large number of contemporary historical works. From the point of view of the imperial army, the most useful sources are: firstly, works by the general Caius Julius Caesar, Commentarii de Bello Gallico and Commentarii de Bello Civili, covering his conquest of Gaul (58-50 BC) and his civil war against rival general Pompey (49-48 BC), respectively. Strictly speaking, these wars pre-date the army's imperial period (which started in 30 BC), but Caesar's detailed accounts are close enough in time to provide a wealth of information about organisation and tactics still relevant to the imperial legions. Secondly, works by the imperial-era historian Tacitus, writing around AD 100.

The main reading room of the Library of Parliament Designed by Thomas Fuller and Chilion Jones, and inspired by the British Museum Reading Room, the building is formed as a chapter house, separated from the main body of the Centre Block by a corridor; this arrangement, as well as many other details of the design, was reached with the input of the then parliamentary librarian, Alpheus Todd. The walls, supported by a ring of 16 flying buttresses, are load bearing, double-wythe masonry, consisting of a hydraulic lime rubble fill core between an interior layer of dressed stone and rustic Nepean sandstone on the exterior. Around the windows and along other edges is dressed stone trim, along with a multitude of stone carvings, including floral patterns and friezes, keeping with the Victorian High Gothic style of the rest of the parliamentary complex. The roof, set in three tiers topped by a cupola, used to be a timber frame structure covered with slate tiles, but has been rebuilt with steel framing and deck covered with copper.

Ethnicities of the Achaemenid Army, on the tomb of Darius I. The nationalities mentioned in the DNa inscription are also depicted on the upper registers of all the tombs at Naqsh-e Rustam, starting with the tomb of Darius I.The Achaemenid Empire in South Asia and Recent Excavations in Akra in Northwest Pakistan Peter Magee, Cameron Petrie, Robert Knox, Farid Khan, Ken Thomas p.713-714 The ethnicities on the tomb of Darius further have trilingual labels on the lintel directly over them for identification, collectively known as the DNe inscription. One of the best preserved friezes, identical in content, is that of Xerxes I. The Scythians were a group of north Iranian nomadic tribes, speaking an Iranian language (Scythian languages) who had invaded Media, killed Cyrus in battle, revolted against Darius and threatened to disrupt trade between Central Asia and the shores of the Black Sea as they lived between the Danube River, River Don and the Black Sea. Darius crossed the Black Sea at the Bosphorus Straits using a bridge of boats.

The Weatherford Hotel in 2007; Charly's is on the left and the Orpheum is on the right. Architecturally, many of the buildings are historic, with stucco friezes; some stand out in the cityscape more than others, including the 1888 Babbitt Brothers building, the 1926 train station, and the Weatherford Hotel with its "grand two-story wraparound veranda and its sunroom". The train station serves as a visitors center, remaining the heart of Flagstaff's economy after originally bringing prosperity in by the railroad; both of the city's train depots were restored in the 1990s. Paradis describes the main station, which is an example of Tudor Revival architecture, as "probably the most prominent landmark in Flagstaff", adding that it "has further been described as perhaps the most unique architectural piece in town". Santa Fe Plaza, with the old depot, lies across the road a few hundred yards east of the visitors center/1926 station and includes a bronze sculpture of a railroad worker known as "Gandy Dancer" and an old locomotive.

In all there are twenty four sculptures of Vishnu standing upright holding in his four arms the four attributes, a conch, a wheel, a lotus and a mace in all possible permutations.Foekema (1966), p72 Below the panel of deities is the base of the wall consisting of six decorative rectangular moldings of equal width which run all around the temple.Quote:"Generally, Hoysala temples built in the 13th century have 6 mouldings ("new style") while those built a century earlier have 5 mouldings ("old style")" Foekema (1996), p28 The six horizontal mouldings are intricately sculptured and are called friezes.Quote:"A rectangular band of stone decorated with sculpture", Foekema (1996), p93 Seen from top to bottom; the first frieze depicts birds (hansa), the second depicts aquatic monsters (makara), the third frieze has depictions of Hindu epics and other mythological and puranic stories narrated in the clockwise direction (direction of devotee circumambulation), the fourth frieze has leafy scrolls, the fifth and sixth friezes have a procession of horses and elephants respectively.

He was given the task of decorating the church of the Colegio de Jesús-María in Tarragona (1880–1882): he created the altar in white Italian marble, and its front part, or antependium, with four columns bearing medallions of polychrome alabaster, with figures of angels; the ostensory with gilt wood, the work of Eudald Puntí, decorated with rosaries, angels, tetramorph symbols and the dove of the Holy Ghost; and the choir stalls, which were destroyed in 1936. In 1880 he designed an electric lighting project for Barcelona's Muralla de Mar, or seawall, which was not carried out. It consisted of eight large iron streetlamps, profusely decorated with plant motifs, friezes, shields and names of battles and Catalan admirals. The same year he participated in the competition for the construction of the San Sebastián social centre (now town hall), won by Luis Aladrén Mendivi and Adolfo Morales de los Ríos; Gaudí submitted a project that synthesised several of his earlier studies, such as the fountain for the Plaça Catalunya and the courtyard of the Provincial Council.

He designed a set of friezes for the exterior of Eatington Hall, as part of its remodelling in 1858–62; they were carved by Edward Clarke, Commissions for work at the Palace of Westminster, and the Albert Memorial helped Armstead to establish his reputation. He subsequently executed a large number of public statues, funerary works and other architectural schemes. The Stockbridge Cup, designed by Armstead as the prize for a horse race at Nottingham At the Palace of Westminster he carved eighteen oak panels in the Queens's Robing Room illustrating the legend of King Arthur beneath a series of murals by William Dyce. Armstead worked closely with George Gilbert Scott on the Albert memorial from an early stage in the design process, making small scale models of the projected sculptural groups for Scott's architectural model. When it came to the sculpture on the actual monument, he was chosen to make half of the Frieze of Parnassus, a representation of 169 major cultural figures carved out of hard Canpanella marble.

The Chigi vase itself is a polychromatic work decorated in four friezes of mythological and genre scenes and four bands of ornamentation; amongst these tableaux is the earliest representation of the hoplite phalanx formation – the sole pictorial evidence of its use in the mid- to late-7th century,”not just the first but the best representations”, Murray, Early Greece, 1993, p. 130. The Chigi vase is predated by the Macmillan aryballos depicting hoplite single combat (BM GR 1889.4-18.1). and terminus post quem of the "hoplite reform" that altered military tactics. The lowest frieze is a hunting scene in which three naked short-haired hunters and a pack of dogs endeavour to catch hares and one vixen; a kneeling hunter carries a lagobolon (a throwing cudgel used in coursing hares) as he signals to his fellows to stay behind a bush. It is not clear from the surviving fragments if a trap is being used,Schnapp, 1989, figs. 99-100, some arching lines in the zone above might indicate a trap.

"The diffusion, from the second century BCE, of Hellenistic influences in the architecture of Swat is also attested by the archaeological searches at the sanctuary of Butkara I, which saw its stupa "monumentalized" at that exact time by basal elements and decorative alcoves derived from Hellenistic architecture", in "De l'Indus a l'Oxus: archaeologie de l'Asie Centrale" 2003, Pierfrancesco Callieri, p212 Stupas were just round mounds when the Indo-Greeks settled in India, possibly with some top decorations, but soon they added various structural and decorative elements, such as reinforcement belts, niches, architectural decorations such as plinthes, toruses and cavettos, plaster painted with decorative scrolls. The niches were probably designed to place statues or friezes, an indication of early Buddhist descriptive art during the time of the Indo-Greeks."They were intended to hold a figured panel, relief-work, or something of the kind" Domenico Facenna, "Butkara I" Coins of Menander were found within these constructions dating them to around 150 BCE. By the end of Indo-Greek rule and during the Indo-Scythian period (1st century BCE), stupas were highly decorated with colonnated flights of stairs and Hellenistic scrolls of Acanthus leaves.

Foekema (1966), p72 Below the panel of deities is the base of the wall consisting of six decorative rectangular moldings of equal width which run all around the temple.Quote:"Generally, Hoysala temples built in the 13th century have 6 mouldings ("new style") while those built a century earlier have 5 mouldings ("old style")" Foekema (1996), p28 The six horizontal mouldings are intricately sculptured and are called friezes.Quote:"A rectangular band of stone decorated with sculpture", Foekema (1996), p93 Seen from top to bottom; the first frieze depicts birds (hansa), the second depicts aquatic monsters (makara), the third frieze has depictions of Hindu epics and other mythological and puranic stories narrated in the clockwise direction (direction of devotee circumambulation), the fourth frieze has leafy scrolls, the fifth and sixth friezes have a procession of horses and elephants respectively.Foekema (1966), p29 In the frieze that depicts the epics, the Ramayana starts from the western corner of the southern shrine and the Mahabharata starts from the northern side of the central shrine vividly illustrating the demise of many heroes of the famous war between Pandavas and Kauravas.

"The diffusion, from the second century BCE, of Hellenistic influences in the architecture of Swat is also attested by the archaeological searches at the sanctuary of Butkara I, which saw its stupa "monumentalized" at that exact time by basal elements and decorative alcoves derived from Hellenistic architecture", in "De l'Indus a l'Oxus: archaeologie de l'Asie Centrale" 2003, Pierfrancesco Callieri, p212 Stupas were just round mounds when the Indo-Greeks settled in India, possibly with some top decorations, but soon they added various structural and decorative elements, such as reinforcement belts, niches, architectural decorations such as plinthes, toruses and cavettos, plaster painted with decorative scrolls. The niches were probably designed to place statues or friezes, an indication of early Buddhist descriptive art during the time of the Indo-Greeks."They were intended to hold a figured panel, relief-work, or something of the kind" Domenico Facenna, "Butkara I" Coins of Menander were found within these constructions dating them to around 150 BCE. By the end of Indo-Greek rule and during the Indo- Scythian period (1st century BCE), stupas were highly decorated with colonnated flights of stairs and Hellenistic scrolls of Acanthus leaves.

The East Block as viewed from the observation platform of the Peace TowerDesigned by Thomas Stent and Augustus Laver, the East Block is an asymmetrical structure built in the Victorian High Gothic style, with load bearing masonry walls being nearly 0.9 m (3 ft) thick at the ground level, expanding to 2.1 m (7 ft) thick at the base of the main tower. These are all clad in a rustic Nepean sandstone exterior and dressed stone trim around windows and other edges, as well as displaying a multitude of stone carvings, including gargoyles, grotesques, and friezes, keeping with the style of the rest of the parliamentary complex. The rear of the East BlockThis detail continues on the interior of the East Block, where emblems, such as wheat sheaves, were carved in stone originally to indicate the various government departments housed nearby. The level of quality and luxury of the offices initially indicated the status of the inhabitant: large, wood panelled chambers with marble fireplaces and richly decorated plaster ceilings served for ministers of the Crown; intricate, but somewhat less detailed cornices were sufficient for senior bureaucrats; and basic, machine-made woodwork and concrete fireplace mantles filled rooms set aside for clerks.