The most popular brands are the Diva Cup, Lunette, and The Keeper.
|
|
Update 4/30/18: Lunette CEO and founder Heli Kurjanen provided the following statement:
|
|
Lunette recommends replacing every 1-2 years, while Nixit is more vague, though says multiple years.
|
|
Yvain's efforts to become worthy of Laudine, with the help of her sorceress servant, Lunette, are guided, and often misguided, by chivalric code.
|
|
She replaced her plastic cooking utensils with wooden ones, traded her shampoo bottle for unpackaged bar soap and ditched her tampons for a Lunette cup.
|
|
A lunette window near the ceiling splashed the canvas with light at an angle similar to that of the implicit light source in Caravaggio's composition.
|
|
Painted in 216 by Edwin Blashfield, who never visited Minnesota, "Discoverers and Civilizers" is affixed to a large lunette in the Senate Chambers of the Minnesota State Capitol.
|
|
His lunette of the "Resurrection of Christ," made for an entrance gate to the villa of the Antinori family outside Florence, is densely colored, action-packed and gripped by a mood of barely contained panic.
|
|
Cup-maker Lunette proposes taking your regular boil two steps further: Soak your cup in rubbing alcohol, lemon juice, or a half-vinegar, half-water solution for an hour before sticking that sucker in boiling water for an extra-long, 20-minute purge bath.
|
|
Some cups sold in the US like the Diva Cup and Lunette do say to wash well with warm water and either soap or their special wash before reinserting (though who knows how many people follow those instructions), but others only say to rinse, which is what the researchers did.
|
|
The accident was unthinkable, but perhaps the warrior angel was presiding over his likeness: Instead of hitting front first or at an angle, which could have caused catastrophic damage, the blue-and-white lunette — 62 inches wide and 32 inches at its tallest point — landed flat on its back, in the wooden frame that encased it.
|
|
Lunette over the main door of the Luxembourg Palace in Paris In architecture, a lunette (French lunette, "little moon") is a half-moon shaped space, either filled with recessed masonry or void. A lunettemed when a horizontal cornice transects a round-headed arch at the level of the imposts, where the arch springs. If a door is set within a round-headed ar the space within the arch above the door, masonry or glass, is a lunette. If the door is a major access, and the lunette above is massive and deeply set, it may be called a tympanum.
|
|
The regiment was distinguished for its defense of a crescent- shaped fortification, which came to be known as the Second Texas Lunette. The fortification was located in the center of the Vicksburg line of defense constructed to guard the Baldwin Ferry Road. The lunette was the subject of tremendous artillery bombardment and repeated Union assaults directed against the lunette on May 22, 1863.
|
|
The lunette shows Ramesses II giving incense offerings to Khonsu of Thebes.
|
|
The upper part shows scenes from the Gospels, that is, the life of Christ. On the lunette there is the scene of the Nativity, and inside the arch above the lunette there are angels looking adoringly at the scene. The lunette and this arch are the work of Master Radovan. Over them there is another arch which also shows scenes from the life of Christ.
|
|
Only the old prison called Lunette did not meet today's standards and has closed in 2008.
|
|
At the top was a lunette depicting a pieta (now Detroit Institute of Arts). Each side panel consisted of a smaller lunette and a main panel - that on the left had Saint Peter and Saint Paul (now National Gallery, London) below a lunette of Saint Catherine of Alexandria and Saint Jerome (now Philbrook Museum of Art), whilst that on the right had Saint George and the Dragon (now Isabella Stewart Gardner Museum) below a lunette of Saint Anthony Abbot and St Lucy (now National Museum, Kraków). The central panel, now known as the Cook Madonna, is a Madonna and Child now in the National Gallery of Art in Washington.
|
|
The lunette takes the form of a flat, circular container, composed of a ring of metal (usually lined with gold) holding two glass or crystal discs, which create a round, flat, glass-enclosed space for the Eucharistic Host. This is used for exposition and Benediction services.Ryan p111-112 The lunette, containing the consecrated Host, is placed in the centre of a vessel known as a monstrance, or ostensory, which can be mounted or carried within the church. The lunette is often kept in another object, sometimes called a lunette or lunula case, which is usually a round box often on a small stand, serving to hold the Host upright.
|
|
A lunette ring is a type of trailer hitch that works in combination with a pintle hook on the tow vehicle. A pintle hook and lunette ring makes a more secure coupling, desirable on rough terrain, compared to ball-type trailer hitches. It is commonly seen in towing applications in agriculture, industry and the military. The clearance between the lunette and pintle allows for more relative motion between the trailer and tow vehicle than a ball coupling does.
|
|
In the 'lunette of the bakery', recently kneaded bread is being pushed into an oven; a butcher turns meat on a spit while a cat tries to steal it from him. In the 'lunette of the tailor's shop', pieces of cloth are measured and cut, while on the shelves of the rear of the apothecary's shop, numerous jars of herbs and other medicines are shown. The 'lunette of the market' shows a fruit and vegetable market busy with numerous customers and vendors dressed in costumes of the period. Lastly, in the 'lunette of the small goods seller's shop', some forms of the typical Fontina cheese are shown; these are considered to the oldest representations of this cheese.
|
|
Surviving drawings attest to his role in designing the lunette in the apse, Heraklios Carrying the Cross to Jerusalem.
|
|
Map of Civil War forts near Alexandria, showing Fort Craig () Fort Craig was a small lunette that the Union Army constructed in September 1861 in Arlington County (at that time Alexandria County) in Virginia during the American Civil War. The lunette was part of the Civil War defenses of Washington (see Washington, D.C., in the American Civil War). The lunette stood less than a mile away from Arlington House, the Union-occupied estate of Confederate General Robert E. Lee. It remained in use throughout the war.
|
|
Wooden palisades were constructed to reinforce weak spots. A lunette had been added in front of the vulnerable Tongeren Gate.
|
|
Similarly, Georgian architecture is illustrated similarly with highly decorated entrances flanked by thin colonnades including a lunette over the door.
|
|
As the French troops were being relieved at daybreak on the early morning of 25 June, the Dutch let a mine explode under the lunette, killing about fifty attackers. Immediately the defenders made a sally and recaptured the lunette for a second time. In response the British and French attacked again, Monmouth circling the lunette from the left, D'Artagnan from the right, while the 2nd Musketeer Company assaulted the front. After a period of confused fighting, the defenders were driven back but several English officers were killed and others wounded, including Churchill.
|
|
Fort Cass Historical Marker Shortly after the Union Army's rout at the First Battle of Bull Run (Manassas) in late July 1861, the Army constructed in August 1861 a lunette (Fort Ramsay) on the future grounds of Fort Myer. One of the first fortifications built on the Arlington Line, the lunette was located at and near the present post's Forest Circle. Later renamed to Fort Cass, the lunette had a perimeter of and emplacements for 12 guns.(1) Cooling and Owen, pp. 104-105: Touring the Forts South of the Potomac: Fort Cass.
|
|
Occasionally child burials are found in the bottom wall of the lunette, another example of the efficient use of space in the catacombs.
|
|
The lunettes above lent themselves to radiating motifs: a sunburst of bellflower husks, radiating fluting, a low vase of flowers, etc. A lunette may also be segmental, and the arch may be an arc taken from an oval. The spaces are still lunettes. A lunette is commonly called a half-moon window, when the space is used as a window.
|
|
The lunette is the towing pintle that allows the weapon to be connected to the vehicle. When towing, vehicle has a fixed or seized tow pintle; remove the lock plate located under the lunette. The drawbar has two positions: lowered for travel and raised for firing. There are two lifting brackets to connect slings to when the howitzer is being lifted by helicopter.
|
|
A surviving account book shows that there were originally tiled lunette panels above six of the windows. The complex was restored in 2010–2012.
|
|
Surrounding vegetation is made up of saltbush and samphire, which supports a range of wildlife. To the east, the lunette contains significant Aboriginal relics.
|
|
In the lunette of the alcove there is an outline of a peacock facing to the right and two round fruits.Strocka 1984, p. 23.
|
|
Following the Union Army's defeat at the Second Battle of Bull Run (Manassas) in August 1862, the Army constructed Fort C. F. Smith in 1863. The lunette was located on property that Thomas Jewell had previously owned and that contained a red house. During construction, the fort was therefore referred to "Fort at Red House". The Army destroyed the house while building the lunette and nearby fortifications.
|
|
The church is constructed in sandstone and has slate roofs. Its plan consists of a three-bay nave, a north aisle, a south porch, a single- bay chancel, and a west tower. The tower is in three stages, with a lunette west window in the middle stage. The top stage contains lunette-shaped bell openings, and the parapet is battlemented with pinnacles at the corners.
|
|
Facing the French trench lines, the sides of Coehoorn were flanked on its right by the ravelin Antwerpen and on its left the ravelin Diden. Between the bastion and Antwerpen was the lunette Holland and between the bastion and Diden was the lunette Zealand. To the left of Diden was the lunette, Utrecht, and left of that the bastion Pucelle. The area between the bastions of Coehoorn and Pucelle was chosen partly because the ground was drier and partly because this was the only part of the fortress not directly covered by additional lines as was the northwest and south east sides of Bergen op Zoom.
|
|
Above the windows on the north side and in the prayer hall are brightly coloured tiled lunette panels. These were probably imported from Iznik in Turkey.
|
|
Close-up of the lunette sculpted by Henri Révoil above the main door The Église de la Madeleine is a Roman Catholic church in Aix-en-Provence.
|
|
Both the left and right scenes have variations of the offering tables, Tetisheri's arm poses, as well as Ahmose's. Besides Tetisheri's representation and nomen depictions in the lunette, her name appears in the hieroglyphs text below along with that of Nefertari who is referred as talking with Ahmose about making offerings and buildings to Tetisheri. The multicolumned text in the lunette is the same for both left and right.Kamrin, 2004.
|
|
It is square with a pitched roof and a lunette in the gable toward the west. It was added to the National Register of Historic Places in 1971.
|
|
Lunette and medallion murals (1908-11), Pennsylvania State Capitol Rotunda. Left to right: The Spirit of Vulcan, Science, The Spirit of Religious Liberty, Art, The Spirit of Light.
|
|
View of the fountain showing the reliefs on the travertine base The site of the fountain was formerly occupied by St. Madeleine's Lunette, a 17th-century lunette that protected the entrance to Valletta. The lunette was dismantled and its ditch was filled in with rubble in the 19th century, although some parts might have survived beneath the present street level. The area was eventually used as a bus terminus, and in January 1953 the Ministry for Public Works and Reconstruction launched a competition for designing a fountain in this empty space. The competition was open to everyone except for those who worked at the Public Works Department, and the first prize was of £100.
|
|
The field artillery limber assumed its archetypal form – two wheels, an ammunition chest, a pintle hook at the rear, and a central pole with horses harnessed on either side. The artillery piece had an iron ring (lunette) at the end of the trail. To move the piece, the lunette was dropped over the pintle hook (which resembles a modern trailer hitch). The connection was secured by inserting a pintle hook key into the pintle.
|
|
A number of minor alterations were made, including the enlargement of Porte des Bombes, the demolition of a lunette and some other gates, and the addition of gunpowder magazines and traverses.
|
|
Fort C. F. Smith connected the Potomac River to the Arlington Line, a row of fortifications south of Washington, D.C., that was intended to protect the capital of the United States from an invasion by the Confederate States Army. The Army built the lunette on a bluff overlooking the Potomac River and Spout Run. Because of its elevation and location, the lunette could protect the Aqueduct Bridge from invaders traveling along each of the two waterways.
|
|
On 1 June 1769, an engineer by the name of Le Bœuf proposed the construction of a lunette in front of then Fort Bourbon. Construction was completed in 1780. A 300 meters long subterranean gallery linked the lunette to the main body of the Fort. The lunette was named after the then Governor General of Martinique, the Marquis de Bouillé. During the British attack in March 1794, the lunette resisted for 14 days, after holding off numerous assaults and suffering extensive bombardment. Fort Bourbon surrendered on 22 March, two days after the British captured Fort Royal. At the time of the British attack on Martinique in 1809, the fort had an irregular pentagonal shape as it followed the terrain. The British besieged Fort Desaix from 10 to 19 February as they emplaced their 14 cannon and 28 mortars and howitzers. They then commenced an unrelenting bombardment that lasted until the French capitulated on 24 February after the British fire had dismounted most of their guns (some 98) and exploded a powder magazine.
|
|
The right wall has a fresco by Pietro Lorenzetti and the Adoration of the Shepherds by Francesco di Giorgio, completed by a lunette by Matteo di Giovanni and a predella by Bernardino Fungai.
|
|
In 1852, he won the Mylius prize for the fresco of The school of Leonardo painted in a lunette for the Accademia.Engraving of Lunette frescoed by Casnedi, page 54 He interned in Rome, where he befriended the landscape artist Costa. He returned to Milan, and joined the Brera in 1856, and as professor of design in 1860. He is best known for his frescoes and religious canvases conserved at the churches (in Valmadrera, Besana, Rho, San Pietro in Novara, and Palombara).
|
|
The opposite lunette housed the fresco of the Navicella, a traditional title for the scene where Christ, walking on water, rescues Peter from the surging waves of a storm and pulls him aboard the boat. This lunette again proposed a marine setting, on balance with the opposite scene and thus creating a sort of parable of Creation: from the skies of the Evangelists in the vault, to the seas of the upper register, to the lands and towns of the middle and lower registers, precisely like in Genesis. In a way, the viewer's sight shifts from Paradise to the terrene world in a consequential manner. Sources attribute this lunette to Masolino, but considering the alternating turns taken by the two artists on the scaffolding, some propound for a Masaccio fresco.
|
|
Facade Lunette The parish church of Santa Maria Assunta in Filettole in the Italian region of Tuscany dates from the eleventh century. It was destroyed in the Second World War and rebuilt in 1958.
|
|
The staircase of the Kunsthistorisches Museum in Vienna is equipped with spandrel and intercolumniation paintings by Gustav Klimt, Ernst Klimt and Franz Matsch, lunette pictures by Hans Makart and a ceiling painting by Mihály Munkácsy.
|
|
The apse lunette was decorated by Belisario Corenzio with a fresco of the Virgin & John the Baptist pleading with the Trinity to liberate Naples from the plague. The arches hold images of prophets and sybils.
|
|
There are many forms of tow hitch, including a ball hitch, tow bar, pintle and lunette ring, three-point, fifth wheel, coupling, and drawbar, among others. The tow-ball is popular for lighter loads, readily allowing swivelling and articulation of a trailer. A tow pin and jaw with a trailer loop are often used for large or agricultural vehicles where slack in the pivot pin allows the same movements. A pintle and lunette is a very heavy duty hitching combination used in construction and the military.
|
|
New South Wales State Heritage boundaries Willandra's archaeological record demonstrates continuous human occupation of the area for at least 40,000 years. It was part of the history of inland exploration (Burke and Wills expedition) and of the development of the pastoral industry in western New South Wales. The area contains a relict lake system whose sediments, geomorphology and soils contain an outstanding record of low-altitude, non-glaciated Pleistocene landscape. The area contains outstanding examples of lunettes including Chibnalwood Lunette, the largest clay lunette in the world.
|
|
Fresh air is supplied through the lower lunette space beneath the roadway, and exhaust is drawn through the upper lunette space above the tube's false ceiling. Each portal building contains four blowers and four exhaust fans, and are capable of nearly of airflow in total. Nearly the entire interior surface of the Webster tube is tiled. The Webster Street tube project cost more than $20 million in total, Alternate URL including renovations to the older Posey tube; the construction contract for Webster was alone.
|
|
The Tympanum shows a representation of the white dove between rays of light, a symbol of the Holy Spirit. The lunette shows a representation of God the Father imparting a blessing, flanked by scenes of annunciation.
|
|
There was another entrance on the northern side: with a marble doorstep and a Roman architrave. The narthex, which was surely built before 1602, is a vaulted ceiling with a cupola and lunette in the middle.
|
|
The tomb is surmounted by a lunette fresco of the Dead Christ Supported by Two Angels attributed to Antonio da Viterbo.Acidini, cit., pag. 188. The marble Pietà above the altar is the work of Gian Cristoforo Romano.
|
|
The lunette was taken, quickly recaptured by a counterattack and then taken again. In the late evening, French engineers connected the lunette to the third parallel via a provisional communication trench. D'Artagnan's statue in Maastricht; Dumas's The Vicomte of Bragelonne: Ten Years Later contains a romanticised account of his death Part of the defences of the city were permanent tunnels that had been dug under the marl plateau to the west. During the period of neglect after 1645, these had partly collapsed but prior to the siege some hasty repairs had been carried out.
|
|
The lunette had places for 22 guns and had a perimeter of . General John G. Barnard wrote in a report that "Fort C. F. Smith was carefully planned and constructed after our latest models." The lunette had a southern and western face and two flanks, as well as a crémaillère line on the north side to protect it from attack up the ravines from the river. A May 17, 1864, report from the Union Army's Inspector of Artillery (see Union Army artillery organization) noted the following: > Fort C. F. Smith, Maj.
|
|
Stele with Decree of Nectanebo I (lunette of the top 1/3 of stele) Personal votive stele The lunette spatial region in the upper portion of stelas, became common for stelas as a prelude to a stele's topic. Its major use was from ancient Egypt in all the various categories of stelas: funerary, Victory stelas, autobiographical, temple, votive, etc. The lunettes are most common from ancient Egyptian stelas, as not only is the topic of the stele presented, but honorific gods, presenters, individuals, etc. are previewed, and often with Egyptian hieroglyphic statements.
|
|
The stele's purpose was to use a 10 percent portion of the waterway-use tax (unspecified import tax) for the services of the priests in charge of the temples of the goddess Neith.Heracleion, Decree of Nectanebo I A finely engraved lunette adorns the upper third of the steles; the engravings and hieroglyphs are all incised in moderate sunken bas relief. The lunette focusses on two versions of the goddess Neith, being offered a food offering on the right, and a usekh collar on the left, by the presenter Nectanebo.
|
|
It was part of the history of inland exploration (Burke and Wills expedition) and of the development of the pastoral industry in western New South Wales. The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. The area contains a relict lake system whose sediments, geomorphology and soils contain an outstanding record of low-altitude, non-glaciated Pleistocene landscape. The area contains outstanding examples of lunettes including Chibnalwood Lunette, the largest clay lunette in the world.
|
|
Above the door is a lunette with scenes of the Veronese history of the time, including: The Consecration of the Veronese Commune, St Zeno stamping on the Devil, (symbol of imperial power) and St Zeno delivering a banner to the Veronese people. Under the lunette are bas-reliefs with the Miracles of St Zeno. The internal and external mensulae around the arch of the porch show the cycle of the months, which relate to the Wheel of Fortune of the window above. The portal is flanked by 18 twelfth-century bas-reliefs.
|
|
The Filippo Strozzi Chapel is situated on the right side of the main altar. The series of frescoes by Filippino Lippi depict the lives of Apostle Philip and the Apostle Saint James the Great and were completed in 1502. On the right wall is the fresco St Philip Driving the Dragon from the Temple of Hieropolis and in the lunette above it, the Crucifixion of St Philip. On the left wall is the fresco St John the Evangelist Resuscitating Druisana and in the lunette above it The Torture of St John the Evangelist.
|
|
The rotunda contains a set of panels painted by Edward Laning in the early 1940s as part of a WPA project. The work includes four large panels, two lunettes above doorways to the Public Catalog and Salomon Rooms, and a ceiling mural painted on the barrel vault. The four panels are located on the east and west walls and depict the development of the written word. The lunette above the Public Catalog Room's doorway is "Learning to Read", and the lunette about the Salomon Room's doorway is "The Student".
|
|
The stained glass in the eastern lunette and south window were manufactured in 1969 in Zagreb according to Pengov's plans. The church contains paintings by locally well-known artists such as Tone Kralj, Matevž Langus and Ivan Vavpotič.
|
|
The inner faces of the doors show Saint Cecilia and Saint Hermenegild above small scenes of their martyrdoms., whilst their exterior show Michael the Archangel and a guardian angel below a lunette of Christ and God the Father.
|
|
The columns are supported by lions in white marble. It has reliefs with Christ Crowned by Saints and Birth of the Baptist. Isabello's Renaissance porch has, in the lunette, a fresco of Mary's Nativity attributed to Andrea Previtali.
|
|
The east window is similar to the windows in the south wall, but with two mullions. The north wall has two tiers of five windows; the lower windows have flat lintels, and the upper row consists of lunette windows.
|
|
He also painted lunette with Sinite parvulos (Let the children come to me) for the portico of the Ospedale degli Innocenti, commissioned in 1843 by the architect Federico Pasqui. Sinite Parvulos, Gesù che benedice i fanciulli, Spedale degli Innocenti, Florence, Restoration.
|
|
In 1832–1837 the Kleine Schleuse on the Wierzbak was built.Biesiadka, Gawlak, Kucharski, Wojciechowski, p. 23 The Dom Schleuse weir on the east side of Ostrów Tumski was built in 1834–1838, with the Dom Flesche lunette to the north.
|
|
Looking west through the lobby. The door to the women's banking parlor (right) is open. Above is the leaded glass barrel vault, and the lunette in the background is by Kenyon Cox. To the left is the main banking room.
|
|
Kemp also donated a 19th-century Italian terracotta derived from the 'Annunciation lunette' in the Ospedale degli Innocenti in Florence, by Andrea della Robbia, the subject of which was symbolic to her of the special importance of women in serving God.
|
|
The façade, by Passarelli, is in the Neo-Gothic style of Lombardy. It is covered with red stone, with decorative elements in travertine. Before it is a large staircase. There are three doorways, each with a lunette with bas-relief above.
|
|
Burton Court is a grade II listed, large country house near Linton, Penyard, Herefordshire, England. The house is of brick-faced stone, with five bays. Three bays have lunette windows and a steep pediment. Within the pediment is a diocletian window.
|
|
Stabilised dunes, crescent shaped, edge the lakes and where erosion has occurred, deep gullying has created miniature grand canyons of great beauty, as at the Walls of China, where the multicoloured strata of the lunette of Lake Mungo is exposed.
|
|
A row of shrubs in front provides further shielding. All five bays of the second floor are set with lunette windows with simple tracery. They have plain molded surrounds. Above them is a shallow molded cornice and copper rain gutter.
|
|
The lunette consists of angels making music and carrying the symbols of the Immaculate Conception along with angels on the side. The medium used to create this was pen, ink, and wash with chalk and was created in Rome around 1615.
|
|
The baby Jesus holds a goldfinch, an allegory of his future Passion. The right side opens on an external wall covered by grass. The lunette shows instead a Pietà, also based on Bellini, with the dead Christ supported by two angels.
|
|
The counterpart to the old portal is formed by a white marble entrance from 1945 bearing the inscription "Presidium". Through the portal is the vestibule, decorated with lunette-shaped pictures by Václav Brožík from the second half of the 19th century.
|
|
It joins the refectory. The church has a Latin cross with a bell tower. Under the medieval church is the crypt of St. Francis with a lunette showing the 'Preparation of the Nativity. The painting dates from the thirteenth Century.
|
|
Construction of 24th Street North destroyed about one-third of the lunette's remains. However, the development of the property into a private estate provided a measure of protection to the remains of the lunette north of 24th Street. In 1965, the Arlington County government erected a historical marker near the site of the lunette's remnants. The Arlington County Board designated the lunette to be a local historic district on February 28, 1987. In 1994 and in succeeding years, the County government acquired the lunette's property, created the Fort C.F. Smith Park, and preserved the lunette's remnants at a cost of over $11 million.
|
|
The shore of Lake Mungo. Landsat 7 imagery of Lake Mungo. The white line defining the eastern shore of the lake is the sand dune, or lunette, where most archaeological material has been found LM1 (red) LM3 (blue) The white line shows the eastern shore of the lake, the sand dune, or lunette, where most archaeological material has been found Lake Mungo is a dry lake located in south-eastern Australia, in the south- western portion of New South Wales. It is about due west of Sydney and north- east of Mildura, and 110 km north-west of Balranald.
|
|
The Sacred Vessels at sanctamissa.org; retrieved 16 December 2018 The lunette resembles another liturgical object, the pyx or carrying case, but their functions are distinct; the pyx serves to transport the Host outside the church in order to take communion to an alternate venue, while the lunette remains within the church and serves to display the Host to onlookers. All of these objects, whenever they contain a consecrated host, are normally kept within the church tabernacle when they are not in use. The tabernacle may be behind the main altar, at a side altar, or within a special Eucharistic chapel.
|
|
The circular keep The design of Fort Tigné was mainly based on the Lunette d'Arçon, as well as the work of Marc René, marquis de Montalembert. The final design by Antoine Étienne de Tousard resulted in a revolutionary fortification, which made it one of the oldest polygonal forts in the world. The most noticeable feature of the fort is the circular keep. This was modeled on the reduit de surete of the Lunette d'Arçon, and it also bears similarities to the tour-reduits built in Malta in the early 18th century (the only surviving example is Vendôme Tower).
|
|
Everard Central contains a series of ephemeral salt lake basins. The lunette formations at the basin edges contain deposits of gypsum. Gypsum for agricultural use is mined at the site, with 35,000 tonnes being obtained by G.J. Mills and McArdle in 2002.
|
|
The main facade includes a protruding, full height central gable, its pediment featuring an Adamesque lunette window, fishscale slates, and a heavy wood cornice. The school closed in 1989. See also: It was listed on the National Register of Historic Places in 1996.
|
|
The large, rectangular auditory is located on the upper floor and is circumferentially equipped with a matroneum. The wall is segmented with alternating arches and pilasters. Lunette caps with plaster busts of famous medics are located above them. The coffered ceiling is made of stucco.
|
|
6, no. 8 (February 20, 1904), p. 14. Artist Albert Herter painted the large lunette murals of Agriculture, Industry, and Commerce for the entrance hall and banking room."Mural Decorations for the National Park Bank," The New York Times, August 21, 1904, p. 8.
|
|
On each side of the church are two lunette windows, with two round-headed windows between them. At the east end of the church is a Venetian window. A Norman doorway which survived the fire has been reset in the south wall of the nave.
|
|
He also painted a lunette in the convent's cloister, depicting a Pietà. Many important Florentine families had daughters in the convent at Sant'Apollonia, so painting there likely brought Andrea to their attention.Spencer, p. 108 The Last Supper displays Andrea del Castagno's talents at their best.
|
|
He is depicted as a winged and bearded god with a crescent moon on his helmet. His name was written in Luwian hieroglyphs with a lunette. In curse formulae he is asked to "spear" the victim "with his horn." Runtiya was a guardian god.
|
|
Jean Chapot (15 November 1930 – 10 April 1998) was a French screenwriter and film director who began his career as an actor. In 1972, he was awarded the Short Film Palme d'Or for his film Le fusil à lunette at the 25th Cannes Film Festival.
|
|
He frescoed scenes from I Promessi Sposi for the walls of a room in royal palace (Palazzina della Meridiana di Boboli) in Florence. He was commissioned to complete lunettes for the Tribune of Galileo (built in 1841 at present site of La Specola Museum): he completed Leonardo presents mathematician Luca Pacioli to Lodovico il Moro, but left the other lunette as a study with Volta experiments his discovery of the battery to Napoleon.The Volta lunette was completed by Gasparo Martellini. In Genoa, he painted frescoes of the Martyrdom of San Giacomo in the apse, and a canvas depicting, Massacre of the Innocents, for the church of San Giacomo.
|
|
As a part of the 1929 renovations, Dameron's original bell-shaped cupola and its second and third tower-tiers were removed. Using his tower's first tier as a base, the new design added two octagonal tiers, neither of which were as wide as the original Dameron first tier. The new second tier was approximately the same height as Dameron's old second tier, but instead of the Jeffersonian-inspired Georgian closed shutters, a traceried lunette was added on four sides of the octagonal tier. The lunette did, however, utilize the Roman-arch keystone motif from Dameron's Palladian windows to connect the new with the old.
|
|
Lunette with the Birth of St. Stephen. Birth of St. John the Baptist. The Feast of Herod. The Stories of St. Stephen and St. John the Baptist is a fresco cycle by the Italian Renaissance painter Filippo Lippi and his assistants, executed between 1452 and 1465.
|
|
From the Aminadab lunette. :a. In particular, The Creation of Adam and The Fall of Man. :b. The hatching of new paint on badly damaged painted surfaces is in line with modern restoration practice. :c. This photo is somewhat darker than the ceiling actually appeared. :d.
|
|
141 The attribution is generally accepted by modern scholars. Two preparatory studies for the lunette paintings are preserved in the Louvre.La fabrique des saintes images. Rome–Paris, 1580–1660, Louvre, Dossier de presse, 2015, p. 30 Four golden putti in the spandrels seem to support the vault.
|
|
Raphael, The Cardinal Virtues, 1511 The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.
|
|
Guida pel forestiero in Ferrara, by Luigi Napoleone Cittadella, (1873) page 117. In the center oval, Avanzi painted the Glory of the Virgin with Saints Ambrose and Carlo Borromeo. The lunette over the entrance has a San Carlo painted by Antonio Bonfanti.ProLoco Ferrara website, entry on church.
|
|
Behind the effigy is a tripartite pylon with sunk molded borders supporting the cornice and framed by two additional Corinthian pilasters. Above it rests an entablature of the Madonna and Child on a half-lunette, a typical—symbolizing intercession—motif for a tomb.McHam, 1989, p. 149, 159.
|
|
The lunette windows on the second story may have been added later, after their use on a now-demolished local hotel. Despite later modifications, it is the only house from that era remaining in the town that has a gambrel roof. It remains a private residence.
|
|
This church likely dates to the 10th century, when a Romanesque structure in brick was begun. The lunette above the entrance portal has a modern mosaic depicting Saint Vicinius wearing a bishop's mitre and holding a chain. The façade remains unfinished. The interior nave is generally austere.
|
|
Two other artillery positions covered the creek crossings. There was a four-gun redoubt to the south, covering the ferry crossing, and a two-gun redoubt at Brinton's Ford to the north.McGuire (2006), 170-171. Only the lunette battery was specifically stated to belong to Proctor's Regiment.
|
|
The principal entrance at the center of the portico is surmounted by a lunette fanlight. Above the entrance is a sculpted floral festoon. The roofline is hidden by a balustraded parapet. The mansion's southern façade is a combination of the Palladian and neoclassical styles of architecture.
|
|
Fortifications of Lyon The extensive system of fortifications of Lyon included: # Fort de la Duchère # Fort de Caluire # Fort de Montessuy # Redoute Bel-Air # Fort de Sainte-Foy # Lunette du Petit Sainte-Foy # Fort Saint-Irénée # Lunette du Fossoyeur # Fort de Loyasse # Fort de Vaise # Fort Saint-Jean # Bastion Saint- Laurent # Redoute du Haut-Rhône # Redoute de la Tête d'Or # Lunette des Charpennes # Fort des Brotteaux # Redoute de la Part-Dieu # Fort Montluc # Redoute des Hirondelles # Fort Lamothe # Fort du Colombier # Fort de la Vitriolerie The fortifications of Lyon were improved according to Rohault de Fleury's plans. The existing Croix-Rousse fort retained its layout, but the bastion of St-Jean on the Saône side was made into a powerful artillery position. The Fourvière fort was rebuilt from 1834 to 1838, and the outworks progressively improved until 1854. On the right bank of the Saône the fortifications were Sainte-Foy, now the CRS barracks, Petit Sainte-Foy, Saint- Irénée (1831), Vaise (1835), Loyasse (1838) and Duchère (1844), now disappeared.
|
|
The pediment has a central lunette, and each side consists of two bays in which the windows have wide flat surrounds. There are four parapet vases. The steps originally had low flank walls perpendicular to the facade, which were removed in the later remodelling.Gomme, Jenner and Bryan, p.
|
|
The lunette or "peacock window" over the main entry is the only original wood and glass piece remaining from 1912 after two renovations. It was restored in 2000. A wrought iron display tree designed by Randy Benson and crafted by local iron artists holds tillandsias in the bromeliad house.
|
|
The San Pietro Polyptych (Italian: Polittico di San Pietro) is a polyptych by Italian Renaissance master Perugino, painted around 1496–1500. The panels are now in different locations: the lunette and the central panel, depicting the Ascension of Christ, are in the Museum of Fine Arts of Lyon, France.
|
|
The remains of repeated small scale camping episodes were uncovered during excavation in the clay lunette. Five new radiocarbon dates on charcoal were obtained from the layers containing cultural material, and ranged between ca. 32,000 calBP near the bottom and ca. 26,600 calBP near the top of the deposit.
|
|
It continued to be used as a school until 1943, when the Wallkill Central School District was created. Some modifications, such as the front lunette, were made in the 1950s to convert it into a private home. In 2000 it was added to the National Register of Historic Places.
|
|
The Della Pura Chapel is situated north of the old cemetery. It dates from 1474 and was constructed with Renaissance columns. It was restored in 1841 by Gaetano Baccani. On the left side there is a lunette with a 14th-century fresco Madonna and Child with St Catherine.
|
|
Above the entrance portal is a mosaic depicting Christ as the Good Shepherd among his flock. The barrel-vaults of the four arms of the cruciform chapel bear vegetal mosaics consisting of acanthus and vine scrolls. In the western arm's lunette a mosaic represents deer approaching a spring, perhaps a reference to Psalm 42, whose incipit is "As the hart panteth after the water brooks, so panteth my soul after thee, O God." In the southern transept's lunette is a mosaic depicting a male saint carrying a cross accompanied by a burning gridiron and an opened cabinet containing the four canonical Gospels, identified by the names of the Four Evangelists in Latin.
|
|
The portal of Ca' Foscari is today the main entrance of the building and was restored in 2008. It is made of Istrian marble, is of rectangular shape, it is surmounted by a lunette; on its perimeter it is decorated with chequered patterns. The coat of arms inside the lunette is composed of a central blazon and three putti (one on each side and one on the top); inside the blazon is depicted the winged lion of St. Mark holding an open book. In 1797, following the forced surrender of Venice and overthrow of the Republic by General Bonaparte, family blazons were abolished; consequently, they were hidden, taken down or, as at Ca' Foscari, covered with whitewash.
|
|
Their gable ends are also stucco, but with a single louvered lunette in the center. The cornice continues along the south end of the main block, where it is topped with a parapet where the roof is flat. Brick chimneys rise from both flat sections. The cupola has three stages.
|
|
The church is ancient, putatively founded in the 11th century on the foundations of an earlier pagan temple. It stands now as mostly rebuilt starting in 1598. The portico, and parts of the apse and sacristy retain some of the ancient traces. The entry lunette was frescoed by Ventura Salimbeni.
|
|
Central lunette of Naples Cathedral Antonio Bambocci (1351?–1421?) was an Italian painter and sculptor of the Gothic period, active in and near Naples. He was born in Peperino, and came to Naples with his father Domenico, also a sculptor. He initially trained with Masuccio, and afterwards by Andrea Ciccione.
|
|
The lunette above the portal contains a copy (1921) of St Dominic blessing Bologna by Lucia Casalini-Torelli (1677–1762). On the left side of the façade is the Lodovico Ghisilardi chapel in Renaissance style. It was built as an example of Vitruvian classicism by the architect Baldassarre Peruzzi around 1530.
|
|
The lunette was part of the Arlington Line. It tied into Fort Tillinghast approximately 0.6 miles to the north and Fort Albany approximately 0.9 miles to the south. The fortification helped guard the capital from an approach along the Columbia Turnpike and over the Long Bridge on the Potomac River.
|
|
Above it is a fine Palladian window, and above that a lunette. The third floor is very short; ceilings are just over 6 feet tall. The floor plan follows a typical central hall plan, with two rooms on either side of the central hallway. The kitchen was in an ell.
|
|
From lunette of Vertumnus and Pomona, 1520-21 In 1522, when the plague broke out in Florence, Pontormo left for the Certosa di Galluzzo, a cloistered Carthusian monastery where the monks followed vows of silence. He painted a series of frescoes, now quite damaged, on the passion and resurrection of Christ.
|
|
La Marthonie was born to the family of Suzanne Galateau and Léon Raymond de La Marthonie de Gaignon. La Marthonie joined the Navy as a Garde-Marine on 28 November 1743. In 1767, La Marthonie captained the 4-gun corvette Lunette. In 1770, La Marthonie captained 64-gun Bizarre, at Rochefort.
|
|
The main portal, carved in white stone, with the impost and architrave with moldings, is surmounted by a lunette assigned to Berrettaro; it represents the image of Our Lady of the Rescue among Angels.Guadalupi, Gianni; Coppola, Mariano (1995). Alcamo, introduzione di Vincenzo Regina(collana Grand Tour) (in Italian). Milan: Grafiche Mazzucchelli. .
|
|
The main body of the stele is then presented below, often separated with a horizontal line (register), but not always. In Egyptian stelas, many have horizontal lines of hieroglyphs; often the lunette will contain shorter vertical statements in hieroglyphs, sometimes just names of the individuals portrayed, hieroglyphs in front, or behind the individual.
|
|
Only a porch remains of the adjacent monastery. The church contains frescoes from the 14th and 15th centuries. The lunette of the portal has a sculpture of the St. Francis and the Stigmata (1480 ). The dome of the Chapel of the Immaculate Conception was decorated with frescoes (1597) by Giovanni Battista Trotti.
|
|
Mundham House is an 18th century brick house that was extended and altered in the 19th and 20th centuries. The house has sash windows, a central pedimented door and an elaborately tiled lavatory dating to about 1800. The stables also date to the 18th or early 19th century and have lunette windows.
|
|
Nevertheless, the defenders now abandoned this part of the outer defense works to the besiegers.Arend, p. 72 On 2 October, count Henry of Nassau managed to take a lunette and ravelin and drive the defenders into the city proper. This meant that the inner city was now open to attack by mines.
|
|
It was constructed in 1903, and consists of a two- story rectangular brick building. In the center of the east elevation parapet is raised half-lunette inscribed "1903" and underneath, "J.A. Belt." John A. Belt, was a well known and substantial entrepreneur in Montgomery County in the late 19th and early 20th century.
|
|
The rear ell has double hung two-over-two sash windows. At the time of the nomination, during the renovations to a single family home, the house had its Cedar Street porch closed in with plywood and the smaller lunette windows were boarded in, but the exterior wooden trim was largely extant.
|
|
The tower had a diameter of about and a height of . In its centre the battery known as "Lunette Kamchatka" was placed. This was a smaller fortification that was designed to protect several artillery pieces. At this time the Russian cartographers marked all landmarks in and around this ridge as "Fort Malakoff".
|
|
Map of Civil War forts near Alexandria, showing Fort Tillinghast (ca. September 1861) Following the Union Army's rout at the First Battle of Bull Run (Manassas) in late July 1861, the Union Army constructed Fort Tillinghouse in August of that year. The lunette was part of the Arlington Line and tied into Fort Craig approximately to the south and Fort Cass approximately to the north. Along with Forts Cass, Woodbury, Morton, and Strong, the fortification covered approaches to the Long Bridge and the Aqueduct Bridge (near the modern Key Bridge). The lunette was named in honor of Captain Otis H. Tillinghast, Quartermaster, killed at the First Battle of Bull Run on July 21, 1861. Oriented to the west, it had a perimeter of , emplacements for 12 guns, and two magazines as well as a bomb-proof. The fortification's armaments included four 24-pound guns, one 24-pound field howitzer, four 30-pound Parrott rifles, two 20-pound Parrott rifles, and two 24-pound Coehorn mortars. Units garrisoned at the lunette included the 16th Maine Infantry, 1st Massachusetts Heavy Artillery, 4th New York Heavy Artillery, and the 145th and 138th Ohio Infantry.
|
|
Col. William H. Telford and officers, 50th Regiment Pennsylvania Infantry at Fort Craig, July 1865.U.S. Library of Congress - Prints & Photographs Online Catalog - Constructed on local farmland in August 1861, the lunette was named for Lt. Presley O. Craig, 2nd U.S. Artillery Regiment, who was killed at the First Battle of Bull Run on July 21, 1861. Oriented to the southwest, it had a perimeter of 324 yards, emplacements for 11 guns, and 2 magazines. The fort's armament included four 24-pound guns, one 24-pound field howitzer, five 30-pound Parrott rifles, a 10-inch mortar, and a 24-pound Coehorn mortar. Units garrisoned at the lunette included the 1st Massachusetts Heavy Artillery, 138th Ohio Infantry, 6th Pennsylvania Heavy Artillery, and 16th Maine Infantry.
|
|
Fort Tillinghast was a small lunette that the Union Army constructed in Alexandria County (now Arlington County), Virginia, as part of the Civil War defenses of Washington (see Washington, D.C., in the American Civil War). Fort Tillinghast stood about 0.6 miles away from Arlington House, the Union- occupied estate of Confederate General Robert E. Lee.
|
|
The same material is also used on the cornices at the rooflines. All the roofs are clad in slate shingles. Between the towers, on the main block, are mansard roofs pierced by small lunette dormer windows and topped with an iron balustrade. The towers have peaked roofs with one small oculus and the same balustrade.
|
|
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.
|
|
Rotating between the infantry brigades, the artillery park, and garrisons, the artillery companies received training in different areas. Knox's tactical theory discouraged artillery duels and urged his gunners to direct their fire on infantry targets. This tactic was highly effective at Monmouth.Wright (1989), 150 Proctor's artillery lunette was not far from Washington's headquarters at Brandywine.
|
|
Later in Cleveland, Alton set up a wool business again with his sons as partners. In 1862, Alfred Pope joined the production company of Alton Pope and Sons and in 1866 married Ada Lunette Brooks of Salem, whose family, like his, had roots in the wool industry. The couple's only child, Theodate, was born one year later.
|
|
The church is built in brown brick with a slate roof. Its plan consists of a three-bay nave and a chancel. The entrance is at the west end through a gabled porch. The doors are in a semicircular arched doorway above which is a lunette window, and over that is a clock face in the tympanum.
|
|
Today gypsum dunes - a rare type of dune - occur in the Estancia Valley and form the Estancia Dune Field; they were also generated by Lake Estancia when the lake dried up and the gypsum was blown away by wind. Deflation of the dry lakebed has produced a scarp, lunette dunes, domal landforms and crescent-shaped ridges.
|
|
The king personally led the siege. On 11 August Lunette, located in front of the gate Thebes, was taken by storm. On the night of 19 August preparations were completed. The attack was carried out simultaneously on the right by the Guard against the gates of Thebes and on the left by Picardy Orleans shelves at Bastion Nobltur.
|
|
In the 16th century, the church was reduced to a single nave, with demolition of the prior apse. The facade was restored in 1940. The first chapel on the right has a Virgin and child with Blessed Bertoni and St John the Baptist (1498) by Agostino da Vaprio. The superior lunette has a fresco depicting God the Father.
|
|
After a month of fighting the French made a lodgement in the covered way. Contemporary map of the course of the siege. Unfortunately for the French, the Dutch still possessed several lunettes in the area, which were used to bombard the French held covered way. The lunette, Zealand, was held by a battalion of Hessian allies.
|
|
Preparatory study for the Coronation of the Virgin on the vault.The oblong shaped chapel consists of a sail-vaulted anteroom and a narrower, barrel-vaulted chancel with the altar. The space is lit dimly by light coming through a lunette window on the back wall. The arched entrance is closed by a balustrade of colourful marble.
|
|
Antoniadi worked there for nine years. In 1902, he resigned from both the Juvisy observatory and from SAF. Antoniadi rejoined SAF in 1909. That same year, Henri Deslandres, Director of the Meudon Observeratory, provided him with access to the Grande Lunette (83-cm Great Refractor) McKim, Richard J. “The life and times of E.M. Antoniadi, 1870-1944.
|
|
Though completed in 1934 the room is built in the Georgian style. The neoclassical ceiling molding with triglyphs was installed in 1934. A series of French doors topped with arched lunette windows are located on the east side of the room. The light switch can be found on the wall, to the right by said doors.
|
|
A church at the site was present by tenth century, but reconstructed in the 13th-century. The walls contain a mosaic of fragments from the earlier church. The façade is a mixture of white limestone and darker tan sandstones, formed by blocks of different size, with a round portal entrance. Above the entrance is a painted lunette.
|
|
The opposite altar is similar but complementary and is made of stucco. The main altar is decorated with a pair of columns made from African marble. It is crowned with a tympanum with a lunette. The left altar has a painting (1730s) by Michelangelo Cerruti, depicting The Sacred Heart adored by the Saints John Nepomuk and Aloysius Gonzaga.
|
|
In June, 1865, Fort Craig was ordered dismantled and the site returned to its previous owners.War Department, Special Orders No. 315, June 19, 1865; General Orders No.89, HQ, Dept. of Washington, XXII Army Corps, June 23, 1865 (NPS - The Civil War Defenses of Washington) No trace of the lunette remains today in what has become a residential area.
|
|
The basilica of Sant'Elia is a Romanesque structure with a nave and two aisles, and a transept. The columns separating the nave's bays were likely taken from ancient Roman buildings. The raised transept is accessed through three steps from three arcades. The façade has three portals, the central one having remains of a painting in its lunette.
|
|
There is a flying staircase to the piano nobile. There are lunette openings above the cornice filled with amber glass to create an ethereal light inside. Tomb chests are above the angle architraves. On the piano nobile, there is a circular chapel with Tivoli variant Corinthian order columns of rose marble and a coffered dome of stone.
|
|
He became a follower of the style of Pietro da Cortona. He painted a Birth of the Virgin for Santa Maria della Pace. He also painted two lunette paintings for Santa Maria del Popolo representing The royal ancestors of the Virgin and The sacerdotal ancestors of the Virgin in 1653.Christina Strunck: Bellori und Bernini rezipieren Raffael.
|
|
The central window has tall, narrow, two-over-four double-hung sash. Its face has a half-timbered appearance, although the section on either side of the windows is faced in clapboard rather than stucco. Above it is a two-paned semicircular lunette window. The bay is topped with a steeply pitched gabled roof and finial.
|
|
To the interior, Newman finds only one space of any architectural note, that of the main hall from the front entrance. Here, flights of steps rise and divide the space into a three bay room set transversely. The hall is crowned by three saucer domes on pendentives, between which lunette windows light from both the front and back.
|
|
Built in 1928 by Concetta Carlucci, who in a vision was invited to awaken the worship of the saint in the city. The structure is very simple, has been enriched by a bronze portal surmounted by a lunette with a bas-relief depicting St. Michael the Archangel, by the sculptor Cosimo Giuliano Latiano and a statue depicting Concetta Carlucci.
|
|
Bronzino. Standing Nude (study for The Crossing of the Red Sea). c. 1541. Uffizi Gallery. The large fresco is an example of Maniera art and is found on the south wall of the chapel. It is framed by fictive architectural elements including columns and an arch that provide the illusion the scene is contained in a lunette.
|
|
The underglaze painted tiled panels have white thuluth lettering reserved on a dark cobalt blue background. Between the letters are flowers in purple and turquoise. Above the mihrab is a larger lunette panel painted in cobalt blue, turquoise and dark olive green. The purple colouring is characteristic of the 'Damascus' style of Iznik pottery but is unusual on tiles.
|
|
It is a frame one-room schoolhouse, three bays by three and one story in height. It sits on a stone foundation with a gabled roof shingled in asphalt. The front facade faces east and features a centrally located entrance amid simple wooden surrounds and a lunette in the gable apex. The windows on either side have louvered shutters.
|
|
In 1980, after a year spent travelling in Europe and the United States, Albrecht produced works that directly referenced European painters and the history of art rather than her surroundings, with titles such as After Piero, Giotto's Blue and Lunette (for Fra Angelico). Her mature style appeared at this time, with her distinctive use of the lunette, which she calls Hemispheres, ovaloid canvases, what she calls Ovals, or oval motifs on standard rectangle canvases, which she calls Roses in the Snow. Albrecht first worked in the hemisphere form while living in Dunedin in 1981 as the Frances Hodgkins Fellow at the University of Otago: the artists has said 'I knew I wanted the hemisphere in 1981. I went to Dunedin with quadrants, the hemisphere happened in the studio, I put the quadrants together.
|
|
Above the centered entrance is a lunette window. In 1912 the building was converted to a rectory. The second elementary school was built in 1912, a 2.5-story Romanesque Revival building designed by Erhard Brielmaier and Sons in a style rather old-fashioned for 1912, to match the other buildings. The building has some Gothic-style decorations, and an oculus in each gable.
|
|
He was born in Lucca. He trained under Stefano Tofanelli, then after the latter's death, along with Michele Ridolfi went to study in Rome with Cammuccini. Giovannetti painted for the Vatican Museum, a lunette depicting Pius VII exhibiting the tapestries of Raphael.Memorie e documenti per servire alla storia di Lucca, Volume 8; Presso Francesco Bertini, Tipografo Ducale, Lucca 1822; page 187.
|
|
At the crossing is a tall octagonal lantern tower, surmounted by a belfry, also octagonal, which ends with a pyramidal cusp in brickwork. The apse has a rectangular plan, a typical feature of Cistercian Gothic edifices. Lunette with the "Martyrdom of St. Andrew". The façade features stones of different types: green stone from Pralungo, calcarenite from Montferrat and serpentine from Oria.
|
|
The pediment has a central lunette, and each side consists of two bays in which the windows have wide flat surrounds. There are four parapet vases. The steps originally had low flank walls perpendicular to the facade, which were removed in the later remodelling. On the southeast facade, the centre has a Doric temple front with open pediment, which surrounds the doorway.
|
|
Villa La Petraia by Giusto Utens Giusto Utens or Justus Utens (died 1609) was a Flemish painter who is remembered for the series of Medicean villas in lunette form that he painted for the third grand duke of Tuscany, Ferdinando I, in 1599–1602. He moved to Carrara about 1580, where he married, and where later he returned and died.
|
|
This church houses a Gothic reliquary from the 15th century, attributed to Alessandro Battista da Marcuccio, a pupil of Pietro Vannini. The interior is decorated with polychrome baroque stucco decorations. The crypt is dedicated to St Pontico. A canvas in a lunette, depicting the Madonna of the Rosary above donors of the Gabrielli family is attributed to a follower of Simone de Magistris.
|
|
The Federal style stone house is covered with brown stucco, with wood weatherboard gables. The main block is 2-1/2 stories, with a prominent attic lit by a large lunette. A less formal 1-1/2 story side wing is attached to the north side of the main block. The pedimented entrance porch is centered on the east facade.
|
|
In the upper part of the painting, the Virgin is shown again, young and attractive, within a mandorla supported by angels. God is welcoming her. In the background are hills with castles, fortified towns and (on the right) a villa, which is the Villa Medici in Fiesole. The story of Mary ends in the central wall's lunette with the Coronation of the Virgin.
|
|
He managed the building, but never lived here, suggesting he had it built for rental/investment purposes. The building features a symmetrical facade, brick in several colors and textures, and a sloping flat roof. While it originally had a full length front porch, this one is not the original. The four lunette-shaped windows in the frieze feature shield-shaped panes.
|
|
Edward Saeger House is a historic home located at Saegertown, Crawford County, Pennsylvania. It was built about 1845, and is a large, two-story squarish clapboard clad frame dwelling on a stone foundation in the Greek Revival style. The front facade features a pedimented gable with a distinctive lunette window and second story verandah. An addition was built about 1866.
|
|
The hyphens feature lunette windows lighting the narrow gallery to the end pavilions on the south side. Round stucco blind openings decorate the north sides of the hyphens, with an arcade on the lower level open to the north. The end pavilions are two rooms deep. The pavilions were augmented during restoration by the kitchen and privy extensions, both mostly underground.
|
|
The cathedral has three entrance gates. The central one is sided by four Corinthian columns, two of which stand on marble lions. Under the right lion is the representation of a child, a symbol of the faithful entering the church. The lunettes over the side gates have Cosmatesque mosaic decorations; the right lunette has also the representation of the "Blessing Christ".
|
|
Several sculptural features and artworks adorn the conservatory. The ornate beveled glass lunette window found just above the entry is original to 1912. In 1981, the conservatory added a hand blown and stained green glass canopy designed by Richard Spaulding and entitled “Homage in Green” to the entry vestibule. Additional green glass pieces, also designed by Spaulding, were added in 1982 and 1995.
|
|
The triangular gable pediment has a lunette window in its tympanum. The interior space is predominantly filled with slip pews, although some original box pews survive in the galleries. The interior ceiling was painted with a trompe-l'œil coffered ceiling in 1848. left Portsmouth's Episcopalian congregational history dates to 1638, when a church was established in the Strawbery Banke area.
|
|
It has an Ionic portico with a lunette in its tympanum. It is topped by a two-stage English Baroque-style cupola with an octagonal lantern with round arch openings and an ogee cap. Side wings with parapets were added later. with two photos and two maps The building is a local landmark, and has one of only two pedimented porticos in Tallulah.
|
|
In 2001 the interior of the church was renovated and the statues and frescoes were embellished. A new parish hall was completed in 1999 and the office addition was completed in 2006. The rectory is a 2½-story, brick residential building. It features a full-size porch on the front, segmental arched windows, a lunette window and a corbelled brick frieze.
|
|
Pintle and gudgeon rudder system. Part 2 is the pintle, and part 3 is the gudgeon. Several examples of pintles as part of door hinges A pintle is a pin or bolt, usually inserted into a gudgeon, which is used as part of a pivot or hinge. Other applications include pintle and lunette ring for towing, and pintle pins securing casters in furniture.
|
|
The Sherman City Union Church is a 1-1/2 story frame structure covered with clapboard. A two-story tower, located in the center of the front facade, has a pyramidal belfry with open sides. The entrance is at the base of the tower, through a set of double doors below a transom. A large semicircular lunette is set above the doors.
|
|
Dizionario Biografico degli Italiani - Vol. 62 (2004) On the opposite side is the monument of Cardinal Jorge da Costa created by the school of Bregno. The lunette is filled by a lovely relief of Mary in mandorla with two angels. Costa died in 1508 but the tomb was probably prepared well before this date, probably few years after the dedication of the chapel.
|
|
He returned to Milan where he painted lunette frescoes in the Casa Candiani. He also painted the lunettes over the altars to the side of the chorus in the church of San Sebastiano. He made portraits of the family in the walls of the house of Castiglioni. He painted the four evangelists for the church of San Gervasio in Bergamo.
|
|
Steinway Hall was designed by Warren & Wetmore. The exterior features a bas-relief of Apollo and a musical muse by Leo Lentelli located in the lunette above the grand window at ground level. The main room, a two-story rotunda, featured high domed ceilings, handpainted by Paul Arndt. The main rotunda sat up to 300 guests and a small symphony orchestra.
|
|
The Marquis de Montbrun commanded the main effort against the lunette. There were two diversionary attacks. The one on the right was led by Charles de Montsaulnin, Comte de Montal, against the Groene Halve Maan. The Duke of Monmouth commanded that on the left, which included some fifty English volunteers and a company of Mousquetaires du roi under Captain-Lieutenant D'Artagnan, directed against the hornwork.
|
|
Manning Parade, terreplein, gun emplacements and the rear of the rampart The main defensive structure is a revetted lunette shaped earthwork. It has a thick rampart with of concrete and of brick forming a retaining wall for the earth fill.Parsons (1986), p.240. The rampart is covered by natural vegetation and, in both the 19th and 21st century operation, is closed to access to preserve this.
|
|
Main façade of Santa Maria Maggiore Portal of the southern entrance The Renaissance church begun in 1520 is built in red and white stone. The main façade consists of an arched entrance in renaissance style with a door commissioned by Prince- Archbishop Cristoforo Madruzzo in 1539. Above the door is a lunette depicting the Annunciation. The bell tower, 53 metres high, is the tallest in the city.
|
|
A historic marker, near the intersection of Arlington Boulevard (U.S. 50) and North 2nd Street in Arlington, shows the location where the fort once stood. The marker depicts the fort's position on a map of the city's defenses and states: > Here stood Fort Tillinghast, a lunette in the Arlington Line constructed in > August 1861. It had a perimeter of 298 yards and emplacements for 13 guns.
|
|
Fort Woodbury was a lunette with a 275-yard perimeter and 19 emplacements for 13 guns. It stood in what is today Arlington's Courthouse neighborhood, near the current Arlington County Courthouse and atop one of Arlington's highest hills. It was close to the current location of Fort Myer. The fort is named for Major D.P. Woodbury, the engineer who designed and constructed the Line.
|
|
The flanking bays have sash windows topped by similar louvers. The main gable is fully pedimented, with a narrow eyebrow lunette window at the center. The square tower rises above the ridge line, beginning with a plain section, above which is an open belfry with pilastered posts. This is topped by a smaller square section with narrow windows, with an octagonal spire at the very top.
|
|
The qibla wall and the mihrab recess are decorated with Iznik tiles. A pair of matched arched tiled panels on the side walls on either side of the mihrab depict spring blossoms and flowers. Above the windows under the portico on the north facade are ten rectangular calligraphic lunette panels. Four panels, two panels at each end, were added when the mosque was extended.
|
|
The building is of an octagonal structure, however the different length of the final parts of the passage which link the vestibule and the presbytery gives a pronounced longitudinal course. The hall is covered by a lunette cloister vault, which extends upwards. The church features a marble inlaid floor. The interior decoration consists of Tuscan pilasters that support the trabeation, on which stands the tambour.
|
|
A lunette window is centered in the front wall between the two sets of entrance doors. A wide wooden entablature with dentils extends across the front and sides of the church's walls. The gable roof is surmounted by a wooden belfry, constructed with Gothic Revival stylistic characteristics. The church's interior is dominated by Potts' trompe-l'oeil frescoes which display various hues of brown, tan, and yellow.
|
|
Lunette depicting Nahshon in the Sistine Chapel. In the Hebrew Bible, Nahshon ( Naḥšon) was a tribal leader of the Judahites during the wilderness wanderings of the Book of Numbers. In the King James Version, the name is spelled Naashon. According to a Jewish Midrash, he was the person who initiated the Hebrews' passage through the Red Sea, by walking in head-deep until the sea parted.
|
|
Interior view, showing the southern lunette. The Good Shepherd Ceiling The "mausoleum" of Galla Placidia, built 425–450, is a cruciform chapel or oratory that originally adjoined the narthex of the Church of the Holy Cross (Santa Croce) in Ravenna. It was probably dedicated to Saint Lawrence. Aelia Galla Placidia, the likely patron of the building's construction was the daughter of Theodosius I and Galla.
|
|
In red brick with stone dressings, the building has two storeys with an attic. The single shallow gable is finished as a pediment and has a stone cornice decorated with modillions. The prominent Venetian window on the first floor has narrow flanking pilasters, and there is also a lunette (semicircular) window to the pediment; both windows have stone surrounds. The ground floor has a modern shop front.
|
|
A two-story loggia with a vaulted ceiling and columns surrounds the courtyard on three sides. Keystone pilasters support arched lunette windows above the public lobby's paired French doors. Quoins (corner blocks) and Doric columns add decorative elements to the space. The courtyard's interior walls are unplastered brick, as are the exterior walls that face toward the courtyard from the north, east and south wings.
|
|
The central panel of this picture, depicting the Nativity with Saints and the Ragnoli Family as Donors, is now in the Kress Collection at the Philbrook Museum of Art, Tulsa, Oklahoma. The lunette, depicting Saint Michael Liberating Souls, is at the Musée du Petit Palais, Avignon. Biagio's style continued to reflect Florentine innovations. His paintings also demonstrate influences—particularly in the decorative elements—from early Netherlandish painting.
|
|
The monastery construction began during the 13th century. The façade was only partially finished, and only the first story sheathed in marble. The portal has a lunette with a 17th-century fresco depicting the Virgin and Child with St Francis and St Louis of Toulouse. The facade has relief with St Bernardino da Siena's Christogram: a sun and letters IHS, here framed by a rope.
|
|
The new fort was in the shape of a lunette, a straight-sided crescent. The fort consisted of a platform for the guns with ramparts surrounded by a nine-yard (eight-metre) wide ditch, which incorporated a Carnot wall running along its centre. This was designed to halt attackers attempting to cross the ditch. The wall itself had loop-holes for defenders to fire through.
|
|
The most important original frescos in the chapel are the paintings of the five lunettes (1488-90). Four of them depict the Fathers of the Church in front of a blue background: St. Jerome, Ambrose, Augustine and Gregory the Great. The central lunette is filled with the sculpted coats-of-arms of Cardinal Costa (the wheel of St Catherine) which is supported by two painted angels.
|
|
The coffered ceiling in the Domed Hall, inspired by the Roman ruin of the Basilica of Maxentius The Upper Tribune is an octagonal room surmounted with a central dome. The dome has octagonal coffering of a type derived from the Basilica of Maxentius. The half-moon lunette windows below the dome are called 'Thermal' or 'Diocletian' windows. Their use at Chiswick was the first in northern Europe.
|
|
In this background one can see the Cathedral, with Giotto's original facade and bell tower. In the lunette above is a bas-relief of the Madonna and Child. This fresco is flanked on both sides by frescoes of famed Romans: on the left Brutus, Gaius Mucius Scaevola and Camillus, and on the right Decius, Scipio and Cicero. Medaillons of Roman emperors fill the spandrils between the sections.
|
|
One is a Renaissance terracotta figure by Pietro Torrigiano of John Yonge (d. 1516), Master of the Rolls and Dean of York, described as the "earliest Renaissance monument in England". The Tudor roses and a lunette of angels found on the back of the sarcophagus resemble those on Henry VII's monument, also by Torrigiano, located in Westminster Abbey. Another is of Richard Allington (d.
|
|
The ceiling was frescoed by Constantino Brumidi, the highly regarded Italian-American artist. However, the lunettes over the windows, doorway, and fireplace were not decorated, and this work was placed in the hands of Carl Rakeman. In each lunette Mr. Rakeman placed the portrait of a famous American general: George Washington, Anthony Wayne, Joseph Warren, and Horatio Gates. He framed each with an oval laurel wreath.
|
|
The scene in the lunette shows Thutmose IV on the left and right making offerings and libations to the Sphinx, which sits on a high pedestal with a door at the base. This is likely an artistic device used to raise the Sphinx above the head and shoulders of the king but it has contributed to the idea that a temple or passageway exists beneath the Sphinx.
|
|
The lunette includes both Guelf and Ghibelline symbols. The interior has large octagonal pilasters. The main altarpiece is a Madonna of the Rosary (1618) by Simone Cibori; the altar on the left has a Madonna della Cintura (Pregnant Madonna) attributed to Giovanni Battista Manna; and the altar on the right has a depiction of Sainte Rita of Cascia. The baptismal font dates to the 16th century.
|
|
The frame consists of symmetrical architraves with paneled corner blocks. The main entrance is sheltered by a tetrastyle, pedimented Tuscan portico on a brick podium. Frascati's Tuscan portico has stuccoed columns, a full entablature, and a pediment with a semicircular lunette in the tympanum. Fenestration throughout Frascati consists of six-over-six sash windows set in wooden architraves and flanked by original louvered shutters.
|
|
The stone minaret, on the southwest end of the portico, was rebuilt in 1763-64. The mosque is similar in design to the earlier Bali Pasha Mosque in the Yenibahçe district of Istanbul which was completed in 1504-05. The mosque is decorated with a number of panels in coloured Iznik tiles. Under the portico on the north façade are three lunette panels and two roundels.
|
|
The façade is plain with a modern lunette in sandstone depicting a bust of San Torpé, by Antonio Fascetti. In 1934, lightning damaged the belltower. The inside of the church was remodeled over the years. The side walls have 17th- century canvases depicting St Simone Stock and St Teresa (left wall) and St John of the Cross and St Andrea Corsini (right wall) by an unknown painter.
|
|
On either side of the large pediment, the roof is pierced by a dormer window with round-arch and a parapet. A similar pediment with a lunette window also graces the rear elevation of the mansion. A flush chimney rises from each gable end of the main block. The mansion's design reflects the late Georgian style of Tidewater, Maryland and the Greek Revival style.
|
|
For his bravery, Smith was brevetted a Colonel and was given command of the 2nd Texas Volunteer Infantry Regiment. At the Battle of Vicksburg, the regiment was distinguished for its defense of a crescent-shaped fortification, which came to be known as the Second Texas Lunette. The fortification was located in the center of the Vicksburg line of defense. Under the command of Col.
|
|
The west front is in two storeys, with a central entrance surrounded by a Tuscan architrave containing a round-headed doorway. This is contained within a round-headed blind arch in which is a lunette. The entrance is flanked by two two-light windows, also round-headed, and containing circular tracery, and there are two similar, but smaller, windows in the storey above. Also in this storey are three tie-bars.
|
|
Earthworks in Fort C.F. Smith Park (September 2013) With the exception of those that construction of 24th Street North removed, the earthen remains of the lunette survive largely intact within Arlington County's Fort C.F Smith Park. Gun platforms 8-11 are clearly visible, as is a well. The fortification contains bastions that are unusual within lunettes. The ammunition magazine is also still visible, as is the bombproof area.
|
|
The small church was erected as an ex voto in 1420 after the ebbing of a plague epidemic. The original façade of this narrow oratory has an elegant Romanesque portal with a sculpted round arch, now sealed in brick, with a painted lunette above. The interior has a vault with crossing. This portion of the building, to the right of the larger church, is now used as the sacristy and chapel.
|
|
Facade prior to 1871 refurbishment.Facade photography from 1850s by Pompeo Pozzi. The façade dates from an 1871 restoration by Carlo Maciachini, who kept the marble portal with tympanum, a gallery of small arches, the rose window and three statues of saints attributed to Giovanni di Balduccio or the Master of Viboldone. In the lunette is a mosaic representing the Madonna between Saints, a copy of the original by Angelo Inganni.
|
|
It may have been produced for the historic chapel of San Nicola (now destroyed, with only one capital remaining), which for a long while was a private oratory of the Bertoldi family. At the base is the inscription "SVIGLIA EL TUO FIGLIO DOLCE MADRE PIA / PER FAR INFIN FELICE L'ALMA MIA". Above the work is a lunette with angels holding IHS, a symbol promoted by Bernardino of Siena.
|
|
Miss Welch is reported to have been a great intellectual, using Ardenham house as a literary salon. The large square red bricked edifice is of a simple design - a three bayed front of three floors. The severity of the facade is only alleviated by a porch with tuscan columns, with a tripartite window above, and above that a tripartite lunette window. The roofline is hidden by a broken parapet.
|
|
Inside the portico, in the lunette above the entrance, is a fresco of the Annuciation (1561) completed by the brothers Lorenzo and Bartolomeo Torresani. The church has a single nave. In the left apse is a fresco depicting the Marriage of the Virgin attributed to Alessandro Torresani, son of Lorenzo. In the left transept are 16th-century terracotta statues depicting Mary and Joseph and a nativity scene (presepe).
|
|
Sion Hill is a brick three-part house with a five-bay 2-1/2 story central bock flaked by one-bay shed-roofed wings. The main facade faces south toward Chesapeake Bay. This side features a pedimented porch at the entrance door, a three-part second floor window above, and a lunette in the attic gable. Typical windows are nine-over-nine sashes under flared stone lintels with projecting keystones.
|
|
The fieldstone Methodist Episcopal Church building was built in 1826 with a simple pedimented roof and round arched windows., p. 93 The building is made of Manhattan schist from a quarry on nearby Pitt Street. The exterior is marked by three windows over three doors framed with round arches, a low flight of brownstone steps, a low pitched pediment roof with a lunette window and a wooden cornice.
|
|
This valley led the assault into a salient formed by a fortified ridge known as the "bull pen" where the defenders slaughtered cattle, and a lunette on a ridge nicknamed "Fort Desperate" which had been hastily improvised to protect the fort's grain mill. A Fierce Assault on Port Hudson, Newspaper illustration of the attacks on the fortifications of Port Hudson. National Archive Soldiers of the Native Guard Regiments at Port Hudson.
|
|
Mantegna began to work from the apse vault, where he placed three saints, mixed with the Doctors of the Church by Pizzolo. Later Mantegna likely moved to the lunette on the left wall, with the Vocation of Sts. James and John and the Preaching of St. James, completed within 1450, and then moved to the middle sector. At the end of 1451 the works were halted due to lack of funds.
|
|
Folly is a historic plantation house located near Staunton, Augusta County, Virginia. The house was built about 1818, and is a one-story, brick structure with a long, low service wing and deck-on-hip roof in the Jeffersonian style. It has an original rear ell fronted by a Tuscan order colonnade. The front facade features a tetrastyle pedimented portico with stuccoed Tuscan columns and a simple lunette in the pediment.
|
|
The upper level comprises Luigi Vanvitelli's 18th century vast octagonal hall (called Salone Vanvitelliano). This has a wooden ceiling supported by eight brick columns resting on marble bases placed at the four corners. At the entrance is a lunette containing Cresseri's fresco Vulcan's Workshop; in the General Secretary's office is another painting, Recovery of Winged Victory. The brothers Giulio Campi and Antonio Campi painted canvases for the palazzo starting in 1549.
|
|
The chapels contain reredos by Palma il Giovane. The chapels are all similar in design, approximately six metres square, the front having an entrance contained in a segmented arch flanked by pilasters which support a pediment. The sides of the small buildings are pierced by lunette windows. The white rendered walls with decoration in natural dressed stone match the villa and church at the completion of the route.
|
|
The decorated capitals are by a Master Henry, while the small statue of St. Andrew in the lunette over the portal is reminiscent of Giovanni Pisano's style. In the late 15th century the upper façade was finished and the central nave was vaulted. The frescoes in the apse date to 1506, executed by Bernardino del Signoraccio. Today only the central part, with the Father supported by Four Angels, survives.
|
|
Around that time the house was first modified. The Federal style was in ascendance, and builders were often asked to copy the similar Adamesque mode popular in Britain for the preceding half-century. Many existing buildings were altered to add some elements of those newer styles. One such change, the lunette windows, was common, and thus the windows on the second story of the house's south facade were duly altered.
|
|
The main portal is in Tuscan style (mid-15th century), and is surmounted by a Gothic lunette of the 14th century with a "Crucifixion". The loggia facing the second cloister has frescoes of Saints, a Madonna and, on the first floor, an Annunciation by Giusto d'Alemagna (1451). In the upper floor has a statue of "St. Catherina of Alexandria" and a marble tabernacle attributed to Domenico Gagini (15th century).
|
|
130-131 Meganck was held in high esteem as a landscape painter. His works show a certain similarity with the works of Hans de Jode and it is possible that the artist spent some time in Hans de Jode's workshop in Vienna. For the Archbishop's castle in Kroměříž Meganck designed and partially painted in 1668-69 a set of 16 lunette-shaped landscapes, which are still in situ.
|
|
After the clearing of the Bagumbayan settlement, the area later became known as Bagumbayan Field where the Cuartel la Luneta (Luneta Barracks), a Spanish Military Hospital (which was destroyed by one of the earthquakes of Manila), and a moat-surrounded outwork of the walled city of Manila, known as the Luneta (lunette) because of its crescent shape.(1911–12). "The Century Magazine", p.237-249. The Century Co., NY, 1912.
|
|
West of Bagumbayan Field was the Paseo de la Luneta (Plaza of the Lunette) named after the fortification, not because of the shape of the plaza which was a long rectangle ended by two semicircles. It was also named Paseo de Alfonso XII (Plaza of Alfonso XII), after Alfonso XII, King of Spain during his reign from 1874 to 1885."Manila and suburbs, 1898". The University of Texas in Austin Library.
|
|
The lunette above the door has a fresco. The monument above the pedestal has a statue of the seated pope in the act of blessing, inside a rounded niche, flanked by statues of holy figures each in their niche. The plaque below translates to: Julius II Pontifex Maximus, restored liberty and expelled the Tyrants. The people of Ascoli erected statues in the year of our savior 1510IVLIO.II.PONT.MAX.OB/RESTITVTAM.
|
|
The interior lunette over the main portal depicts the Madonna and child between Saints Magno and Secondina (late 13th century). The ciborium on the main altar was completed by Vassalletto in 1267. The frescoes of the apostles on the apse walls were painted in the 17th century by Borgogna. While the frescoes in the half-dome apse with was completed in the 19th century by Giovanni and Pietro Gagliardi.
|
|
The portal leading to the sacristy has a fresco by Correggio in the lunette, depicting St. John and the Eagle and generally considered his first work in the church, although similarities with the dome decoration could imply that it dates from a later period. The inscription ALTIUS CAETERIS DEI PATEFECIT ARCAN around the painting refers to the nocturnal prayers of the monks. The sacristy was frescoed in 1508 by Cesare Cesariano.
|
|
Lunette window above the main entrance. The Center for Urban History is located on Akademika Bohomoltsia Street off of Ivana Franka Street. The Center is not far from Soborna Square and the Danylo Halytsky Monument and about a ten-minute walk from Rynok Square. The building was developed by the renowned Ukrainian architect Ivan Levynskyi and is considered to be one of Lviv's best preserved clusters of Art Nouveau architecture.
|
|
A lunette painted in 1599 by Giusto Utens, depicts the palazzo before its extensions, with the amphitheatre and the Boboli Gardens behind. The red stone excavated from the site was used in extensions to the palazzo. The building was sold in 1549 to Eleonora di Toledo. Raised at the luxurious court of Naples, Eleonora was the wife of Cosimo I de' Medici of Tuscany, later the Grand Duke.
|
|
The Conspiracy of Claudius Civilis is an oil painting by the Dutch painter Rembrandt, c. 1661–62, which was originally the largest he ever painted, at about five by five metres in the shape of a lunette. The painting was commissioned by the Amsterdam city council for the Town Hall. After the work had been in place briefly, it was returned to Rembrandt, who may have never been paid.
|
|
Decorative lunette The theater was designed by the Rock Island architectural firm of Cervin & Horn and the Chicago firm of Brawn & Ermling. It is a three-story Art Deco style building. The exterior of the structure is faced in Indian red brick and polychrome terra cotta. The terra cotta was designed specifically for the theater by Rudolph Sandberg and produced by the Midland Terra Cotta Company of Chicago.
|
|
The façade (finished in 1348) is hut-shaped, with mullioned windows and visible brickwork with white stone decorations, and divided into three sectors by two semi-columns. The entrance portal is in white marble, and is surmounted by a lunette with marble sculptures of the "Madonna with Child between the Saints Ambrose and John of Meda". At its sides, two Gothic niches houses statues of the Sts. Peter and Paul.
|
|
The palace has a square plan, and sits above a series of terraces corresponding to the building's lower floors. The façade on the square is in stone, with round arched windows in the upper part, placed in couples separated by lesenes. Above them are the merlons, supported by ogival arches. The lower part features mullioned windows enclosing the Gothic-style portal, with a 16th-century fresco in the lunette.
|
|
The facade has a wooden statue of St Francis. The main altar (1755) has a canvas depicting Christ and the Virgin granting indulgences to St Francis (1773) by Francesco De Mura. The sacristy has a canvas depicting Conversation with the Crucifix by St Thomas (1580) by Marcus Laurus, held in lunette frescoed with the Virgin with St John the Baptist and St Michael Archangel. The musical organ dates to 1721.
|
|
In 1899 the railway line was extended from Jeparit to a projected town site, Rainbow Rise, named after a sand lunette covered with wildflowers in the shape of a rainbow. A post office opened on 2 July 1900 and town blocks in Rainbow were sold in October 1900. By 1910 the township was referred to as the Metropolis of the Mallee. Robert Riby owned and operated the first newspaper in Rainbow.
|
|
These and larger fortifications later constructed nearby became known as the Arlington Line. They included a lunette (Fort Cass) and Fort Whipple, which became parts of Fort Myer, later to be renamed as Joint Base Myer–Henderson Hall. The Arlington Line was never attacked, even after the federal defeat at the Second Battle of Bull Run (Manassas) in late August 1863. The Line therefore effectively served its strategic purpose.
|
|
The single coinage design created a form of monetary union in southern England, reinforcing the mingling of economic interests between the two kingdoms and the military alliance against the Vikings. Coin hoards in Wessex dating to the earlier period of separate coinage designs have few non-Wessex coins, but after the adoption of the common Lunettes design, coins of Wessex and Mercia were used in both kingdoms, and even in Wessex hoards coins of Æthelred I form a minor proportion of the total. Between one and one and a half million Æthelred I Regular Lunette coins were produced, but this seems to have been significantly less than in Mercia. It is not known why the Mercian design was adopted, but it probably reflects the fact that the Lunette type had already been used for more than twelve years, the simplicity of the design, which could easily be copied, and the greater strength of the Mercian economy.
|
|
The lunette of Giovanni della Robbia in the Cloister In the fifteenth century, the hospital enjoyed remarkable economic prosperity and in 1419 received a visit from Pope Martin V. In 1420 the addition of the cloister of the medical center by Bicci di Lorenzo marked a major transformation and expansion of the original building. The addition still has a terracotta lunette depicting the Pietà by Giovanni della Robbia and clay sculpture with the Madonna with Child and two angels, attributed to Michelozzo. In the early decades of the fifteenth century the aisles were decorated by Niccolò di Pietro Gerini with frescoes that are now partially preserved in the original locations and some were detached and placed in the living roomof Pope Martin V where they now have the office of the hospital president. In the Cloister of the Bones was a detached fresco representing Last Judgment by Fra Bartolomeo, now at San Marco Museum.
|
|
Agustino or Agostino Da Vaprio was an Italian painter of the Renaissance period. He was living in Pavia in the 15th century, and was one of the artists employed by Ludovico Sforza in Milan, in 1490. He is the author of an altar- piece in San Rimo, Pavia, a Virgin and Child with Saints and donor, dated 1499. A fresco lunette is now in the church of San Giacomo e Filippo, Pavia.
|
|
The lunette was removed in 1896 in connection with the redevelopment of the glacis into a high-end residential area. Most of the streets in the area were named after Norwegian cities and landscapes. Kristianiagade takes its name after the old name for Oslo. Other street names in the area named after Norwegian localities include Bergensgade (after Bergen), Stavangergade (after Stavanger), Trondhjemsgade and Trondhjems Plads (after Trondheim, Hardangergade (after Hardanger) and Mandalsgade (after Mandal) .
|
|
Villa del Trebbio The Villa del Trebbio, in a lunette by Giusto Utens, held in the villa Medicea della Petraia. The Villa del Trebbio is a Medici villa in Tuscany, Italy. The villa is located near San Piero a Sieve in the Mugello region, in the province of Florence, in the area from which the Medici family originated. It was one of the first - if not the first - of the Medici villas built outside Florence.
|
|
The modern church reproduces the ground plan of the ancient building. The façade, in the limestone cornice, is divided by thin pilasters into five bays, not reproducing the previous ornamental arches in the roof eaves. The central bay contains the neomedieval portal with archivolts, over which is a lunette covered with a sort of porch. The left side - also made of limestone - is marked by four pilasters and pierced with mullioned windows.
|
|
Additional vehicles carry the ammunition and emplacing equipment. On arrival at the firing position, which has to be on firm ground, the mortar is uncoupled from the tractor and the towing lunette is removed. The large circular welded baseplate is lowered to the ground and packed with earth to provide a stable firing platform. The smoothbore barrel is 5.34 m (22.25 calibers) long and for loading is swung into the horizontal position.
|
|
It was originally protected by a lunette. Porte des Bombes was captured by French soldiers during the French invasion of Malta in June 1798. At this point the Maltese insurgents opened fire in its direction, to challenge the occupants, which had left significant bullet marks on the front. In the mid-19th century the British government enlarged the gate by adding a second archway to accommodate the increasingly heavy traffic in the Grand Harbour area.
|
|
Construction of the church began in the 12th century and was only completed by the early 14th century. The façade with a local stone base, and brick superior zone has a portal with multiple columns and a fresco in the lunette from the 17th century. In 1623 the Cappuccini (a Franciscan order) were assigned to this church. They erected an adjacent convent, and remained here until suppressed by the Napoleonic government in 1802.
|
|
The Neoclassical Revival elements include full height entry porch that is supported by paired fluted columns in the Corinthian order. They support a plain entablature and triangular pediment. Other Neoclassical elements include the second story porch treatment, architrave window trim, and fluted pilaster corner boards. The Colonial Revival elements are found in the Palladian windows located in the gable ends, the lunette in the porch pediment, and the scalloped brackets under the eaves.
|
|
The altar housing the saint's relics is a work by Benedetto da Maiano (1475) that bears relief scenes of Saint Fina's life. Above the altar is a tabernacle with a portrait of her on leather, an early 14th-century work by the Sienese Manno di Bandino. The urn on the tabernacle held the saint's bones until 1738. The upper lunette is decorated by a painting of the Madonna with Child between Two Angels.
|
|
The Grande Lunette of Meudon Observatory (France), is a double refractor with both an 83 cm and 62 cm aperture objective lenses on one shaft. It was installed in 1891. The Meudon great refractor (Meudon 83-cm) is an aperture refractor, which, with September 20, 1909 observations by E. M. Antoniadi, helped disprove the Mars canals theory. It is a double telescope completed in 1891, with a secondary aperture lens for photography.
|
|
Paolo Zimengoli or Cimengoli (active 1717 -1720) was an Italian painter of the Baroque style, active in his native Verona and Bergamo. He was a figure painter, mainly of sacred subjects, including a frescoed lunette in the crypt of the church of San Stefano, in Sant'Andrea di Romagnano, and in the church of San Marco. It is unclear who was his master.Le vite dei pittori, scultori e architetti veronesi, by Diego Zannandreis, page 336.
|
|
The tympanum of each tower has lunette windows. It was built for Colonel Harvey Washington Walter, a lawyer who served as the President of the Mississippi Central Railroad. During the American Civil War of 1861-1865, Walter, who was opposed to secession, invited Union General Ulysses Grant to live in the house. As Confederate General Earl Van Dorn liberated Holly Springs, he was not permitted to enter the house until Julia Grant had gone outside.
|
|
Begun by the Augustinians in 1260, it is one of the few Gothic buildings remaining in the city, after the numerous demolitions in the 19th century. It has a typical façade with bichrome stripes in white marble and blue stone, with a large rose window in the middle. Notable is the ogival portal with, in the lunette, a fresco depicting St Augustine by Giovanni Battista Merano. At the sides are two double mullioned windows.
|
|
He was accompanied by another painter known by his last name Kegel, who may have been and assistant or apprentice.Miroslav Kindl, Netherlandish Artists in the Service of Bishop Karl von Lichtenstein-Castelcorno, in: Ondřej Jakubec (ed.), 'Karl von Lichtenstein- Castelcorno (1624–1695) Bishop of Olomouc and Central European Prince', Olomouc 2019, pp. 265–282 Meganck designed and partially painted a set of lunette-shaped landscapes, which are still in situ in the castle.
|
|
The west bay of the south side contains a porch, over which is another round-headed window. In the apse are two curved windows flanked by round-headed windows, and there are similar windows on each side of the tower on the west front. The tower is in three stages. On its west side is a door, there are lunette windows on the north and south sides, and a rectangular window on the north side.
|
|
A single lunette is located in each gable field. In the east face's frieze, bronze letters spelling out "UNITED STATES POST OFFICE" are located above the main entrance, with "ALBION" and "NEW YORK" on the brick below flanking the entrance arch. A datestone is at the northeast corner. Granite steps with original iron railings and lampposts, joined by a modern wheelchair ramp on the north, rise to the centrally located main entrance.
|
|
The open plan brick building has a symmetrical front with doors in a recessed central bay approached by steps from the street. This is surmounted by a lunette and voussoir above which is an oculus as an attic window. It opened as the Cheltenham Cinema, which was owned by Ralph Pringle. It was renamed as The Plaza and then became the Academy Cinema which was used as the name until its closure in 1955.
|
|
The design included since the beginning a thoroughly painting decoration of the interior, and a contract had been signed with the young Correggio, who a had already worked in another Benedictine monastery, in the Camera della Badessa of San Paolo. Correggio executed five frescoes groups. The first includes the lunette with St. John and the Eagle (c. 1520), followed by the dome, with the Ascension of Christ and the drum and the four pendentives decoration.
|
|
Detail of the frescoes, with the Annunciation of Zacharias. In 1957 most of the original appearance was restored, basing on evidence from historical documentation, with the exception of the Baroque façade. In the exterior, embedded in the 18th-century façade, is a Romanesque portal, whose lunette has a 13th-century bas-relief. The latter was originally part of the prothyrum, now destroyed, and depicts Christ enthroned between the Virgin, St Marcurius and Gregory the Abbot.
|
|
At 5:30 pm the British mounted a major assault across the creek. Firing canister shot, Proctor's guns caused considerable casualties before the British successfully stormed the lunette. The Americans claimed to have saved two of the cannons. During the Battle of Germantown on October 4, 1777, the American first wave encountered 100–120 men of the British 40th Regiment of Foot shut up in the Benjamin Chew House and flowed around the obstacle.
|
|
The interior plan of the mosque is a simple square room, on each side, covered by a shallow dome in height. As with the Hagia Sophia, the dome is much shallower than a full hemisphere. The windows are decorated with lunette panels of polychrome cuerda seca tiles. To the north and south of the main room, domed passages led to four small domed rooms, which were intended to function as hospices for traveling dervishes.
|
|
The monumental main staircase (Főlépcsőház), with three flights, led up from the lobby to the first floor in an airy, glass-roofed hall. The side walls of the hall were decorated in Italian Renaissance style with colossal Corinthian half-columns, stuccoes and lunette openings. Ornate wrought-iron chandeliers and intricate balustrades decorated the stairs. On the ground floor, colossal Atlas statues stood beside the side pillars, holding the weight of the upper flights.
|
|
The first chapel of St. Margaret with a crypt, the presbytery of today's lower chapel, was built around 1100. When the nave was added, the Romanesque portal with a lunette was displaced. In the 13th century the chapel's second floor was built, dedicated to Bartholomew the Apostle, with a Gothic vault build after 1470. The lower chapel was than dedicated to St. Eligius, decorated again after 1771 with frescos by Janez Potočnik.
|
|
It forms a contrast with the spacious nature of the Gallery, which is in four vaulted bays. Each of these bays is lit by a glazed lunette, below which are oval medallions containing a depiction of a neoclassical figure, and a niche holding a black basalt vase. The Orangery has large windows with cast iron glazing bars. The Octagon contains a Neoclassical fireplace, a delicately decorated plaster ceiling, and a frieze of winged gryphons.
|
|
Mountain Home, also known as Locust Hill and Robert Dickson House, is a historic home located near White Sulphur Springs, Greenbrier County, West Virginia. It was built about 1833, and is a large, two-story brick dwelling with a kitchen ell. It features a two-story, one-bay lunette-adorned pediment with plastered brick Doric order paired columns. It has Late Federal and Roman Revival elements on both the exterior and interior.
|
|
The wealthy Benizelos family subsidized the frescoes, painted in 1682 by Ioannis Ypatos, from the Peloponnese, according to the inscription on the western wall. The cupola represents Christ Pantokrator. On the bi-partite rosette, are depicted: the Preparation of the Throne, the Virgin, John the Forerunner, the angels and a composite fresco of the Four Evangelists are represented. On the chapel's lunette, the Virgin Platytera enthroned, with angels seated on either side.
|
|
The altarpiece of the nativity is by Circignani. In the roof, the Celestial celebration on the nativity of Christ, on the pinnacles are David, Isaiah, Zechariah and Baruch, on the right lunette an Annunciation to the Shepherds, and on the left a Massacre of the Innocents. Also are frescoes on Presentation of Jesus to the Temple and Adoration by Magi. Four allegorical statues represent Temperance, Prudence on right; and Fortitude and Justice.
|
|
The Lime Street front and the middle and right bays on the Skelhorne Street front contain bow windows on each of the top two floors. Between the floors is inscribed "CROWN" "HOTEL" in elaborate lettering. The top two floors of the left bay in Skelhorne Street are occupied by a complex panel containing, in three lines, "WALKERS ALES WARRINGTON". Each of the attics contains a lunette window over which is an elaborate architrave.
|
|
Lunette in the Sistine Chapel of Salmon with Boaz and Obed. Salmon ( Śalmōn) or Salmah (שַׂלְמָה Śalmāh, ) is a person mentioned in genealogies in both the Hebrew Scriptures (Old Testament) and in the New Testament. He was the son of Nahshon, married "Rachab" of Matthew 1:5 (possibly Rahab, of Jericho), and Boaz (or Booz) was their son. Thus, according to the biblical genealogies, Salmon is the patrilineal great-great-grandfather of David.
|
|
The portal is the work of the sculptor Nicholaus, a pupil of Wiligelmus. The lunette shows Saint George, patron saint of Ferrara, slaying the dragon; scenes from the Life of Christ appear on the lintel. The jambs framing the entrance are embellished with figures depicting the Annunciation and the four prophets who foretold the coming of Christ.Daniel, Ezekiel, Isaiah, Jeremiah According to a now-destroyed inscription, Nicholaus was responsible for the design of the original building.
|
|
Gun batteries were placed between the lunette and the hornwork, to bombard it from a short distance. These gun emplacements also could interdict a possible sally from the gate. On 27 June, Louis was in a contemplative mood, silently observing for hours the bombardment of the city, standing on the north slope of the Sint Pietersberg. French engineers dug a tunnel under the hornwork and in the night of 27/28 June they a let a mine explode.
|
|
Fort Glanville entrance via Queen Elizabeth II walk The fort is designed as a defensible battery, rather than a defensive strongpoint. The faces of the fort join to form a half-moon shape or lunette. The guns' primary role was to defend Port Adelaide and the Semaphore anchorage rather than the fort itself, and the design reflects this. It was intended to be supported by field artillery, cavalry and infantry for self- defence and to repel landings.
|
|
A lunette painted in 1599 by Giusto Utens, depicts the Palazzo Pitti before its extensions, with the amphitheatre and the Boboli Gardens behind. Detail of a Bronzino fresco in the Cappella di Eleonora. Like her husband, Eleanor was a notable patron to many of the most artists of the age like Agnolo Bronzino, Giorgio Vasari, and Niccolò Tribolo and very notable buildings still standing today. Eleanor's private chapel in the Palazzo Vecchio was decorated by Bronzino.
|
|
In the center of the mural floats a female representation of Commerce, greeting Prudence and holding a caduceus. The caduceus is the staff carried by Hermes, god of commerce, in Greek mythology. In some ways, Cox's mural resembled the lunette he created for the Library of Congress, but the Cleveland work was more subtle in its use of allegory and symbol. Both works were highly praised by the press and other artists when they were unveiled in 1903.
|
|
The Brewhouse The Brewhouse, by Vanbrugh, can be dated, on the grounds that it shows no Palladian influence, to 1718 or earlier. Such features as the huge keystone, set above an arched doorway, and the prominently-silled lunette window above, are typical of Vanbrugh's style. The machicolated arcade across the moulded parapet of the centre is a feature unique to Vanbrugh at this date, also found at Vanbrugh Castle, and is a precocious example of the Gothic Revival.
|
|
The footprint is similar to a Greek Cross, and the gable roof projections, covered with asphalt, intersect at the center of the "cross". The entrance portico contains Ionic columns under an entablature, with a paneled wooden door behind a transom, and is accessed by a concrete-upon-brick stoop. At the entrance portico above the second story is a small lunette window. The windows around the house are six-over-six, double-hung, with brownstone windowsills.
|
|
I fatti principali della storia di Firenze narrati ai suoi scolari di lingua, by Arcangelo Piccioli, page 91. The Gate was refurbished in 1817-1818 under the reign of Grand Duke Ferdinando III of Lorraine, and in the outer lunette has a much degraded fresco depicting the Virgin and Saints by Michele Tosini. In the past, just outside this gate, was the site where official executions were performed.Guida della città di Firenze ornata di pinata e vedute, page 150.
|
|
At the top is a tympanum with the coats of arms of the House of Anjou and of the princes of Taranto, rulers of Altamura in the late 14th century. The portal is decorated with numerous sculpted scenes of Biblical scenese: in the lunette is a Virgin with Child and Two Angels; in the architrave is a Last Supper: finally, the arches houses 22 scenes from the Gospels, depicting Jesus' life from the Annunciation to the Pentecost.
|
|
Cesare Bertolotti added the Mercury and Venus on a lunette on the left wall of the stairs, while Gaetano Cresseri accomplished Rome Triumphant in the ceiling of the atrium. Palladio was consulted on the upper level in 1550. Indeed, he had been unhappy with the previously established windows, calling them too small and disproportionate, and obstructed by the four columns which are placed in them for ornamentation. A remodeled sketch by Palladio shows windows to replace the old ones.
|
|
The focal point of the architecture is the altar. It was built of white and colourful marble in the shape of an aedicule adorned with two large Corinthian columns, two half-pilasters and a broken pediment. The Cerasi coat-of-arms is depicted in the center of the stained glass lunette window. From the outside the chapel is invisible because it is hemmed in by the neighbouring parts of the basilica and a narrow, walled courtyard.
|
|
The church fell into disrepair, and the most of the convent was destroyed to build new roads in 1817-1819. The unfinished grey stone brick facade with a peaked portal and a single small oculus leads into a well organized interior nave with elaborate side altars. In the lunette over the doorway there is a fresco by Fra Angelico, depicting the Madonna and child with Saints Dominic and Peter Martyr. Fra Angelico once lived in the monastery.
|
|
Wheatland is a Federal style house made of brick. As no documents on the actual construction are known to exist, the person or persons responsible for the design of Wheatland have remained anonymous. However, the architecture of Wheatland, as well as its location on the property, indicates someone who was skilled in classical architecture. Design elements, like various lunette windows, also show the influence of various architectural guidebooks that were prevalent in the early 19th century.
|
|
The second altar had a Virgin and Child with Saints Jerome, Francis, Mauro, Simplicio, and Placido by Niccolo Giolfino. A frescoed lunette was competed by Giovanni Battista dal Moro. The Chapel of the Innocents had an altarpiece depicting the Massacre of Innocents by Pasquale Ottino and a Martyrdom of 40 martyrs by Alessandro Turchi (L'Orbetto). The chapel also had frescoes by Marcantonio Bassetti, and an Annuciation and frescoes of San Carlo and St Francis by Ottino.
|
|
The Kirksville congregation of Disciples of Christ was founded in 1849, with the present frame building constructed in 1878. The Gothic Revival church features a steep gable roof with narrow angled brackets under the eaves and at the gable ends. One gable end forms the front facade that contains two Gothic-arched windows with stained-glass, a Gothic-arched double-leaf entrance, and a pointed lunette. On each side facade three pointed-arched windows also contain stained glass.
|
|
Above them was to be a lunette containing a relief panel of God and the Virgin Mary, beneath which was a panel showing the crib. The relief figures were to be brightly painted and gilded. To either side of the central painting were to be painted panels showing four angelic musicians on one side and four singing angels on the other. A number of sculptured relief panels were to depict the life of the Virgin Mary.
|
|
The left aisle also houses an 18th-century marble sculpture of the Virgin Mary and Christ by Gianmaria Morlaiter in the left, whilst the firsts altarpiece in the right aisle houses the central part of a triptych of saint Roch and the angel under a lunette of the Virgin and Child, both by Bartolomeo Vivarini and dating to 1480. The presbytery also houses a painting of the Last Supper by Benfatto Alvise Dal Friso, from the Veronese school.
|
|
Most basins are closed depressions that hold runoff from the surrounding landscape to form seasonal lakes and wetlands in them. Some of these basins have been naturally breached, or drain to an outside watershed, and no longer hold precipitation run-off. Many of the large semi-elliptical to elliptical Rainwater Basins have a crescent-shaped ridge that Stark referred to as a lunette located on the southeast side of them. These distinctive ridges are about in relief.
|
|
Baden picket lines at Weghäusel, Meinau and Neuhof were thrown forward to Neudorf and the Schachen Mill. Detachment from Illkirch approached the glacis and skirmished with the French to distract the garrison of the real axis of attack. A detachment from Lingolsheim could not make it to the gorge of the Paté Lunette as the bridges had been destroyed. The French outwork maintained a continuous fire on the German siege batteries at Königshoffen and the outposts at Lingolsheim.
|
|
The left wall comprises two scenes organized vertically, divided by a painted frieze. The upper lunette shows the romitaggio (hermitage) of the young Bernardino; below are the Funerals of Bernardino, set in an urban scene with a chessboard-like pavement, painted using geometrical perspective. The latter has its vanishing point in an edifice with central plan, taken from Perugino's Delivery of the Keys. Pinturicchio, however, departed from that model by using two buildings of different heights at the sides.
|
|
Micah in the right lunette The altarpiece measures 375 × 260 cm when the shutters are closed. The upper panels contain lunettes showing prophets and Sibyls looking down on the annunciation; the lower tier shows the donors on the far left and right panels flanked by saints.Pächt (1999), 212 The exterior panels are executed with relative sparseness in comparison to the often fantastical colour and abundance of the interior scenes. Their settings are earthly, pared down and relatively simple.
|
|
Heinrich Wenck who was employed by the national railway company had completed a number of station buildings, often working with his predecessor N.P.C. Holsøe, before he designed Esbjerg station in 1902. He was influenced by the rich, National Romantic style of Martin Nyrop which drew on stately Dutch Renaissance decorations and details. Features include a central gabled section with a large lunette window flanked by twin towers. At the time, lunettes were widely used for illuminating station halls.
|
|
The arches used in Romanesque architecture are nearly always semicircular, for openings such as doors and windows, for vaults and for arcades. Wide doorways are usually surmounted by a semi-circular arch, except where a door with a lintel is set into a large arched recess and surmounted by a semi-circular "lunette" with decorative carving. These doors sometimes have a carved central jamb. Narrow doors and small windows might be surmounted by a solid stone lintel.
|
|
Lake Tyrrell is the largest playa in the Murray Basin of southeast Australia. Optical dating of sediments within the transverse dune (lunette) sediments demonstrate aspects of the lakes history into the interglacial period, and show the highest lake level around 131,000 ± 10,000 yr ago, forming Lake Chillingollah, a megalake filled by increased winter rainfall, that persisted until around 77,000 ± 4000 yr ago.Stone, Tim 2006 Last glacial cycle hydrological change at Lake Tyrrell, southeast Australia. Quaternary Research 66:176–181.
|
|
It had originally a nave and two aisles, with a pentagonal apse; today it has only the nave. Much of the original church is now 2 metres under the ground level. The interior houses a Byzantine altar and traces of 12th century paintings. Also notable is the portal with its lunette depicting the Martyrdom of St. George whose naked body blessed by the hand of God is held by two clothed men against a spiked wheel.
|
|
Construction of both the Santa Margherita and the Cottonera Lines resumed in 1715. At the time of completion in 1736, the Santa Margherita Lines consisted of five bastions, two demi- bastions, six curtain walls, three gateways, at least two sally ports, a ditch, a covertway with lunette, and a glacis. The British modified the lines in the 1850s with the construction of Fort Verdala and St. Clement's Retrenchment. The latter connected the Santa Margherita Lines with the Cottonera Lines.
|
|
His statue of Apollo and a musical muse, located in a lunette of Steinway Hall on 57th Street in New York City, was covered when the building was sold, but is again on display. Other ornamental figures include Bagnante, a Diana, and Leda. In addition to figures, Lentelli sculpted panels and bas-reliefs for many distinguished buildings. He ornamented a frieze on the Free Academy building at Corning, New York with a panel of children's figures.
|
|
St Martin lunette on lateral (South) Portal Along the right hand nave is this first chapel is a painting of the Adoration by the Magi (1532) by Girolamo da Carpi. The next one shows Carmelite Saints (mid-17th century) by Cesare Gennari. Along the right hand of the nave, on a stone column, are 15th-century frescoes depicting St Anthony, Onofrius, and Elias by Lippo Dalmasio . Vitale da Bologna’s Crucifixion was completed in the 15th century for this church.
|
|
The arcosolium of the "Vintners" has some well-preserved paintings relating to the production and transportation of wine, and is found in the latest part of the complex. The underside of the arch shows three scenes respectively featuring a figure with wineskins, a flute player, and stacked wine barrels. The central lunette features a cargo ship, presumably transporting wine. There are many other small tombs which were connected to this complex by both ancient and modern passages.
|
|
Smith, the Second Texas Infantry withstood two Union assaults of brigade strength directed against the lunette on May 22, 1863.Lone Star Brigade After the surrender of the Confederates at Vicksburg on July 4, 1863, Smith was in charge of defenses in the vicinity of the Matagorda Peninsula on the Texas Gulf Coast and finally at the end of the war, the remnants of Second Texas was charged with defending the port of Galveston from Union control.
|
|
A passage from the 1541 statutes of the Compagnia di San Giovanni Battista at Fucecchio reveals that the altar of their oratory, adjacent to the Collegiata but deconsecrated in the late eighteenth century, had a dual dedication to the Virgin and St. John the Baptist. Since both John appears prominently in Ghetti's Madonna and Child at Fucecchio and in the Baptism now displayed above it, there is good reason to believe that both these panels were made to be displayed over the altar of the oratory of the Compagnia di San Giovanni Battista. The original format of the Fucecchio altarpiece is not entirely certain, though it is probable that the lunette with the Baptism of Christ was always located above the lower panel depicting the Madonna and Child with saints. Both panels have been cut down drastically from their original dimensions, and the lunette — apparently chopped down to an uncomfortable and much smaller arched format at an unknown date — was subsequently reintegrated with new spandrels in order to fill it out as a rectangle.
|
|
A detail of the façade Sacro Cuore di Gesù in Prati rises in Lungotevere Prati, between Via Ulpiano and Via Paolo Mercuri, close to the Palace of Justice. The façade with salients, entirely made with reinforced concrete, underlines the internal subdivision into three naves thanks to six quadrangular piers, each surmounted by a spire. In the lower part there are three portals, whose embrasure is decorated by little columns made of red Verona marble; each portal is surmounted by a wimperg and decorated with a marble lunette hosting a bas-relief: the central lunette portrays the Souls of Purgatory, the one on the right the Deposition of Christ and the one on the left the Resurrection of Christ; the wimperg above the central portal shows a high-relief portraying the Sacred Heart of Jesus between two Angels. In correspondence to each of the side naves there is a high triphora, while the central nave corresponds to a big esaphora including a rose window showing a richly decorated trestle.
|
|
In December of that same year, he was commissioned to create the large ensemble of Death of the Virgin for the Sanctuary of Santa Maria della Vita. The work, consisting of fourteen larger-than-life size terracotta figures in highly emotive poses, was likely completed in 1522. Between 1522 and 1526 he executed other works in terracotta in Bologna: Lamentation of Christ (Bologna Cathedral), St Bartholomew (Santa Maria della Pioggia), and four terracotta statues of the Patron Saints (Torre dell'Arengo of the Palazzo del Podesta). Lunette of the Resurrection, facade of San Petronio Basilica in Bologna Lombardi also carved sculptures in marble for the facade of San Petronio Basilica in Bologna, including the Lunette of the Resurrection (1527) and the side doors depicting the Annunciation and Adam and Eve (1526–32). Lombardi’s success in Bologna brought commissions in Faenza and Castel Bolognese. According to Vasari, Lombardi was commissioned and prepared models for Pope Clement VII’s sepulchral monument, but this project was never completed due to the death of Cardinal Ippolito de' Medici, who had promised the work to Lombardi.
|
|
The windows in the bays on either side of the entrance have round-arch tops, while the remaining windows have flat lintels with keystones. The window above the door is a larger window with sidelights, and the gable above has a large fanlight lunette in it. The property includes two outbuildings, each of which have Gothic Revival features. and The house was built by William Blacklock who, on September 24, 1794, purchased two lots in the newly laid out Harleston Village.
|
|
At first the attackers had only a tenuous hold on the lunette and it would take them over five hours to bring up reinforcements. Another sortie would not materialise however, the population beginning to fill the gate with manure. During 26 and 27 June, the French reorganised, rebuilding their assault teams. It was decided that, before the ravelin in front of the gate could be stormed, first the hornwork and the Groene Halve Maan would have to be reduced to prevent enfilading fire.
|
|
The fort and surrounds occupy the northern half of the conservation park, the southern half is a caravan park. The fort is a lunette shaped defensible battery that was supported by land forces for self-defence. When constructed it was seen as state of the art, incorporating powerful and modern weapons. Its main armament is two rifled muzzle-loading (RML) 10 inch 20 ton guns backed up by two RML 64 pounder 64 cwt guns, both rare in their particular configuration.
|
|
In the middle of 1881 the committee in charge of building in Vienna commissioned Hans Makart with the overall equipment of the large staircase. However, since Makart died in 1884, only the lunette pictures had been completed by then and could be affixed to the walls of the museum. The committee had to look for other artists for the missing spandrel and intercolumniation paintings. In 1885 Hans Canon was initially entrusted with the ceiling painting, but he also died a few months later.
|
|
The ribs supporting the dome were placed on top of iron columns that descended directly to the building's foundation without intersecting with the rest of the superstructure. The exterior of the dome was made of copper and contained cornices above the first and third stories of the dome. The fourth and fifth dome stories were divided by the ribs into twelve sections with small lunette windows on each story. At the top of the dome was a lantern surrounded by an observatory.
|
|
He is depicted in frontal foreshortening, giving the impression that He is emerging from the clouds around Him. He seems to lean forward with one hand raised in blessing and the other resting on the frame, the latter a device likely borrowed from the depiction of the prophet Micah in the right lunette on the exterior of the Ghent altarpiece. In both depictions the father is shown directly above Mary, looking down at her and resting on the painting's frame.Birkmeyer, p.
|
|
The executioners fastened him to the guillotine's bench (bascule), positioning his neck beneath the device's yoke (lunette) to hold it in place, and the blade swiftly decapitated him. Sanson grabbed his severed head out of the receptacle into which it fell and exhibited it to the cheering crowd. According to one witness report, the blade did not sever his neck but instead cut through the back of his skull and into his jaw.Stephen Clarke, The French Revolution & what went wrong, Century, 2018, p.
|
|
The stained-glass window shows the Baptism of Christ by John the Baptist. The semi-octagonal, wooden pulpit stands on the left in the center of the nave. The pendentives of the lowered dome are decorated with images of the Doctors of the Church St Jerome, St Gregory the Great, St Ambrose and St Augustine, also by Giovanni Bevilacqua. The lunette in the counter-façade represents the Sacred Conversation with saints, with churches or chapels in Bardolino, at the feet of Our Lady.
|
|
The main altar has an Assumption and an Annunciation by il Montalto. To the right of the main altar is an Adoration of the Magi by Pietro Micheli, he also painted the St Vincent of Paoli in the second chapel on the left. The first chapel has an altarpiece of Saints Anthony and Francis by E. Acerbi, a relative of Mario Acerbi. The counterfacade has a lunette originally from the church of San Innocenzo (now suppressed), work by Agostino da Vaprio.
|
|
Decree of Nectanebo I.Stele from Heracleion site, Nile Delta, underwater recovery. (Lunette of the top 1/3 of stele.) Frosting is a decorative effect named after its resemblance to the appearance of frost. It involves making very small marks in a surface so that it appears matt rather than polished, and in glass opaque rather than optically transparent. It is often used for glass for bathrooms and toilets, but may be used on many materials and created by many processes.
|
|
The church has a unique aisle with a ceiling which resembles the hull of a ship dating to the 15th century. There are several paintings. The most important are the “Mystical wedding of Saint Katherine” by Matteo Ponzone and one by Giuseppe Porta. Above the entrance door there is a sculptured marble lunette with the “Mystical wedding of Saint Katherine and two Donors.” Christ is sitting on a throne holding an open book which reads “EGO SUM LUS MUNDI” in his left hand.
|
|
The house is built in a provincial interpretation of a Palladian three-part plan, possibly influenced by the Jeffersonian architecture of Saunders' native Virginia. The cramped proximity of the three front triangular pediments betray the vernacular nature of the composition, although the remainder is well-proportioned. The entire house is constructed in brick above a raised basement. The two-story main block features a Tuscan portico with an arched lunette in the pediment, this feature was a common Jeffersonian architectural device.
|
|
Depending on the layout, a distinction is made between "open" (offene) and "closed" (geschlossene) schanzen. The closed type are further divided into redoubts, that only have outward-facing angles, and "star schanzen" (Sternschanzen) with alternating inward and outward facing corners. In open schanzen, which may take the shape of a flèche, redan, half-redoubt, lunette, hornwork or even more complex designs, the gorge is open, i.e. the side where the army was encamped or on which their own defences lay, was unfortified.
|
|
The lunettes of the portico are decorated with frescoes giving realistic and humorous depictions of scenes daily life and the trades of the period. They represent an important iconographic testament to life between the fifteenth and sixteenth centuries. The 'lunette of the guard house' shows some soldiers, accompanied by some prostitutes, seated at a table and intent on playing cards or tric-trac. Their weapons and armour (including cuirasses, crossbows and halberds) are hung up on a rack attached to the wall.
|
|
Haire, whose talents contributed much to the local streetscape, was at that time frequently in Miles City supervising the design and construction of the Carnegie Library and the Ursuline Convent. These and the Ulmer residence showcase the architect's fluency in the Neoclassical style. Haire's design of this residence helped inspire a new trend in Miles City's domestic architecture. A grand semicircular entry porch, Ionic columns, Palladian windows, and a central pediment with an inset lunette are elements characteristic of the style.
|
|
French wall pieces and infantry fired from the No. 44 lunette against the Prussian position at Kronenburg. A French detachment of several hundred men momentarily captured the outermost Prussian trenches but was then thrown back by the Prussian infantry's file-fire. Two Landwehr battalions from the Guard Landwehr Division occupied this line of trenches in the evening. On the night of 28–29 August, the line of trenches was extended to cover the entire attack sector and communications were established along the line.
|
|
Information concerning the next decade of Lorenzo's life and work is scanty. From 1410 there is a record of him having being paid fourteen florins for a figure of St. Nicholas for the lunette of the portal of the Ospedale di San Matteo, Florence. This work is now at the Accademia di Belle Arti. Some historians believe Lorenzo oversaw the construction of the Palazzo Capponi alle Rovinate, a late-Gothic style palace located on Via de’ Bardi in Florence, Italy.
|
|
The monument takes the form of an aedicule with two pilasters holding a heavy entablature. The sarcophagus with the reclining statue of the dead cardinal is placed in a large rectangular niche forming an open tomb. On the back wall of the niche there is a relief set in a lunette depicting the Madonna with the Child flanked by two angels in adoration. The soffit of the architrave is decorated with rosettes and the painted coat of arms of the cardinal.
|
|
The façade is one of the most refined examples of the 18th-century style in Rome. The interior has a single nave with plaster decorations. It houses works of art formerly in the Church of Sant'Angelo ai Corridori, lying along Borgo Sant'Angelo, destroyed in the 1930s and no more rebuilt: among them, a fresco portraying the Virgin of the Milk with the Child, attributed to Antoniazzo Romano, and a lunette with the Apparition of St. Michael Archangel to Pope Gregory the Great.
|
|
There are three principal entrances,—by a north, south, and west door. Fragments of an architrave stone and horseshoe-shaped lunette on the east entrance are remnants of the first building layer. The interior is composed of three naves separated by four pairs of cruciform pillars with simply profiled imposts hewn out of rectangular stone blocks and cuboid bases. The pillars and semicircular brick arches supported by them divide the barrel- vaulted central nave into five almost equal sized aisles.
|
|
The façade lunette over the portal was frescoed by Evaristo Cappelli, and depicts the Resurrection of Christ and the Nation takes the dead soldiers in its arms. The layout of the church is a Greek cross, rising in the dome with a diameter of 15.8 meters with four octagonal towers at the corners. The stained glass rose window was designed by Guglielmo Da Re of Milan, and others depicting the four evangelists by Benedetto Boccolari. The crypt is accessible by a central staircase.
|
|
A redan as part of a fortification Saint Anthony's Battery in Qala, Malta, with a redan containing the entrance "Cascalho" Redan in the city walls of Elvas, Portugal Redan (a French word for "projection", "salient") is a feature of fortifications. It is a work in a V-shaped salient angle towards an expected attack. It can be made from earthworks or other material. The redan developed from the lunette, originally a half-moon-shaped outwork; with shorter flanks it became a redan.
|
|
The Annunciation, with Saint Emidius. The church originally housed The Annunciation, with Saint Emidius by Crivelli (National Gallery, London), Blessed James of the Marches (Louvre) and Polyptych with the Virgin and Saints (present location unknown). A 1519 lunette mural of Christ's Climb to Cavalry by Cola dell'Amatrice hangs on the west side of what was the refectory The work belongs to his early period and was restored in the first half of the 19th century after damage by the Napoleonic army.
|
|
Michelangelo Buonarroti, Sistine Chapel lunette, Vatican City. Traditionally Ioatham is the man in green on the left and the child with him is his son Achaz. Biblical chronologies for the two Israelite kingdoms in the 8th century BC are both profuse and perplexing. Some of the reign lengths or synchronisms are given from the start of a sole reign, while others are given from the start of a coregency, or, in the case of Pekah, from the start of a rival reign.
|
|
Proctor's Regiment played an important part at the Battle of Brandywine on 11 September 1777. Washington deployed his army behind Brandywine Creek at Chadds Ford. To cover the ford, the Americans built a lunette from logs and earth and armed it with four pieces from Proctor's Regiment. Two of the guns were French-made 4-pound cannons, one was a Hessian 3-pound gun seized at Trenton and rebored to take 6-pound shot, and one was a Philadelphia-made 8-inch howitzer.
|
|
When Wilhelm von Knyphausen's division attacked at 5:30 PM, the guns inflicted considerable losses on their advancing enemies. A soldier of the Queen's Rangers reported that the creek was "stained with blood". The lunette was finally overrun and an American gunner reported spiking two cannons and the howitzer before retreating. As the British attack rolled forward, Bombardier Ned Hector, an African-American in Captain Hercules Courtenay's 3rd Company of Proctor's Regiment was ordered to abandon his ammunition wagon and retreat.
|
|
The main fields include green leaf groups with red stems. Pinakes of a dog chasing a deer and a dog barking at a deer jumping to the right are painted on the north wall on either side of an ocher-colored architectural framework. In the white lunette of the west wall, a hippocamp and three dolphins are painted. In the center of the west wall, an architectural framework is painted with a left-facing griffin perched on the corner of its molding.
|
|
By Masolino. In the left lunette, destroyed in 1746-48, Masolino had painted the Calling of Peter and Andrew, or Vocation, known thanks to some indications by past witnesses such as Vasari, Bocchi and Baldinucci. Roberto Longhi first identified an image of this lost fresco in a later drawing, which does not conform to the lunette's upper curvature, but appears today as a very probable hypothesis. In this scene, Masolino had divided his composition into two expanses, of sea and sky.
|
|
He also painted for the church of Santa Caterina della Ruota, including one depicting events of the Apocalypse by St John: the Woman of Babylon on the seven headed beast; but also the Fall of Lucifer, an Immaculate Conception; and a God the father. He painted lunette frescoes (now lost) in the Convent of Sant'Anastasia ( which became the Lyceum), with scenes from the life of St Dominic and St Peter Martyr. Michelangelo Spada's sister, Veronica, was a painter of still-life.
|
|
By the early 1920s, Nuderscher's reputation as a painter earned him high-profile mural projects such as the commission to paint a lunette in the Missouri State Capitol. He sketched a few different designs for the project before deciding on one of his favorite subjects, the Eads Bridge. Completed in 1922, The Artery of Trade (originally titled The Great Crossing) is a favorite of capitol visitors because of the optical illusion of the bridge moving as the viewer walks past.Priddy, Bob & Jeffrey Ball.
|
|
The main entrance is in the base of the tower facing north, sheltered by a gabled porch with round Ionic columns set on brick piers. The gable front is broken by a half-round lunette with spindles descending. Its first floor is occupied by offices, and its upper floor is taken up by an auditorium space with balcony and stage. The basement level, accessible from 4th Street, has a garage door opening which was originally used to house fire equipment.
|
|
The inside of the church In the anterior part of the structure there is a portico with three round arches, preceded by a wide limestone stairway. The bell tower once had four floors, but the last floor was demolished during restoration works. Near the buildings composing the sanctuary is the cave where the statue of the Virgin Mary was found.p. 61p. 35 A cell door with a lunette depicting a Saint The church has a rectangular nave, whose length is double its width.
|
|
During the period of almost one century, the building at the Great Bazaar served the needs of Belgrade municipality. The building was constructed as two-storey object with classically shaped front facade, whose symmetry was achieved with the shallow central Avant-corps with attic above the cornice. The reconstructions and the addition of the floor from 1928 significantly changed the appearance of the building. Today`s facade is dominated by the monumental fluted semi-columns in the ground floor zone, and lunette windows.
|
|
In this critical phase of the battle, de Vauban lost his confidence. It had been assumed that the morale of the garrison was low but it now proved to be much more aggressive than expected. Also he worried about the possible extent of the tunnelling. He wrote to François-Michel le Tellier, Marquis de Louvois, the French minister of war, that if the Dutch managed to recapture the lunette for a third time, it was a distinct possibility that the siege would have to be lifted.
|
|
The staircase in the rotunda is an imperial staircase, similar to the one in the Palais Garnier in Paris, France. The staircase leads to the mezzanine between the first and second floors, before dividing into two staircases leading to the second floor. Edwin Austin Abbey painted four allegorical medallions around the base of the capitol dome, detailing the "four forces of civilization": Art, Justice, Science, and Religion. Four lunette murals were also painted by Abbey and "symbolize Pennsylvania's spiritual and industrial contributions to modern civilization".
|
|
On the occasion of the 1600th anniversary of the velatio"Velatio" stands for the consecration of Marcellina that took place in Rome in 353 by Pope Liberio. of Marcellina, in 1953 the owners of the farm, lords Cavajoni-Bologona, decided to renovate the frescoes and build the lunette on the building's facade. On October 31, Monsignor Ennio Bernasconi, mitred abbot of St. Ambrose of Milan, praised not only Marcellina and his brothers but also the owners responsible for the restoration. Minor restorations were also executed in 1959.
|
|
The current appearance of the facade dates back to an 1886 restructuring commissioned by the owner, Ercole Gnecchi. It was rebuilt in brick in the style of Lombardy, in reference to the Basilica of Saint Ambrose in Milan, and is divided by a cornice. The top has a central lunette depicting the blessing of Saint Ambrose, surrounded by a round arch, and next to it there are two arched windows. This section is surmounted by a pediment, and above it there is a small tower.
|
|
The procurators were also given the authority to negotiate the price of the new altarpiece they were commissioning. In all likelihood they commissioned Ghetti's altar-piece shortly after the deliberation was made in the summer of 1525, and the San Pietro a Selva lunette was probably painted not too long before the laudum of September 1527, the similarities between the two pictures are easy to comprehend. Together these two works represent the cornerstones on which any chronology of Ghetti's stylistic development must be based.
|
|
Nativity of Mary by Ludovico Cardi, known as il Cigoli Choir lunette depicting Bonaventura Bonaccorsi by Cecco Bravo. Priests of the Servite order arrived to Pistoia by 1241, and moved here to a house with a small oratory titled Santa Maria Novelleta and located just outside the gates of the Porta San Piero.Pistoia e il suo territorio: Pescia e i suoi dintorni: guida del forestiero, by Giuseppe Tigri, Tipografia Cino, Pistoia (1853): page 238. By 1270-1271 construction of a convent and church had begun.
|
|
The left wall cycle culminates in the large lunette with the scene of Death and Assumption of the Virgin. The painting quality of this picture looks inferior to the rest, showing that Ghirlandaio left most of its execution to his workshop. The body of the aged Virgin is lying on a lawn, surrounded by the Twelve Apostles who kiss her feet in a sign of deference, cry and pray. Angels are holding torches, while one of the Apostles holds a palm, a symbol of Resurrection.
|
|
It was completed originally during the 1250s, but almost completely rebuilt around 1627 in Baroque-style by the architect Bartolomeo Pettirossi. Soon after, a new façade (1637) was erected using designs by Matteo Nigetti, that conserved the glazed terracotta lunette over the doorway, which while resembling the work of Della Robbia, is now attributed to Benedetto Buglioni. Ognissanti was among the first examples of Baroque architecture to penetrate this Renaissance city. Its three reversed orders of pilasters enclose niches and windows with elaborate cornices.
|
|
The church's most striking feature is its façade, with a five-arch lower floor surmounted by three loggias, with the number of columns increasing with the elevation. The columns, and its capitals, are each different from the other (one is a statue). The original façade had no particular features, the current decoration having been added in the 12th century. View of the apse The central portal has a barrel vault entrance, and a lunette with a bas-relief of the Praying Madonna with Angels.
|
|
Eventually Ancient Egyptian steles became more than just statements about a topic or events, and became a means of decoration. Later period steles were made in dark stone, some approaching a light or deep black. The twin steles of Nectanebo I, his Decree of Nectanebo I, made into two steles, and mounted in Naucratis and Heracleion, are made in such a manner. The lunette scene of shallow, to medium sunken bas relief, as well as all the Egyptian hieroglyphs are made with a frosting technique.
|
|
Wrought-iron screens topped by lunette grilles, designed by Yellin, separate the passageway from both the lobby to the east and the Great Hall to the west. The ceiling of the Great Hall contains maritime-themed frescoes, which Winter painted using the fresco-secco method, which depicted maritime activity. Barry Faulkner painted murals of maps into the walls of the Great Hall's niches. The pendentives of the Great Hall's dome include depictions of oceanic explorers Leif Erikson, Christopher Columbus, Sebastian Cabot, and Francis Drake.
|
|
On Daniel's robes, there is no such gentle gradation. The yellow lining of his cloak becomes a sudden dense green in the shadows, while the mauve has shadows that are intensely red. These colour combinations, which are best described as iridescent, can be found at various places on the ceiling, including the hose of the young man in the Mathan lunette which is pale green and reddish purple. In some instances, the colour combinations look garish: this is particularly the case with the Prophet Daniel.
|
|
The Neoclassical façade in white and grey marble is divided into two levels by a cornice. In the lower level, divided into five areas by four columns, are three entrance portals: two stone panels record the vicissitudes of the central doorway, built by Bishop Roberto in 1133 and subsequently enlarged by Bishop Guglielmo in 1167. The bronze doors are carved with scenes from the religious and civil history of Avellino. In the lunette above the central doorway is a bas relief of the Last Supper.
|
|
Built by the Union Army in May 1861, Fort Scott was built as a detached lunette to guard the south flank of the defenses of Washington. It was named for General Winfield Scott, then General-in-Chief of the Army. One of many forts build to safeguard the capital, it was subsequently relegated to an interior position by the construction of the defenses of Alexandria about 1/4 miles to the west. The Fort had a perimeter of 313 yards and emplacements for 8 guns.
|
|
The town hall with its bell tower. The Palazzo Comunale (Town Hall) is an imposing building with a natural brick facade dating from around the 14th or 15th century: it has served since its beginning as the seat of Nizza Monferrato's local government. The building has two upper floors, each of which has four windows, with cornice ornamentation in the form of an arched lunette. On the ground floor it has a broad internal arcade fronted by four arches, each supported by a large pillar.
|
|
Sifre, Num. 47. Michelangelo - Sistine Chapel lunette Naason When the princes of the different tribes were required to bring their offerings, each on a separate day, Moses was embarrassed, not knowing who should be the first; but all Israel pointed at Nahshon, saying, "He sanctified the name of God by springing first into the Red Sea; he is worthy to bring down the Shekhinah; therefore he shall be the first to bring the offering."Num. R. xii. 26.Sotah 37a; Numbers Rabbah xiii. 7.
|
|
300px Pietà or Lamentation over the Dead Christ is a fragment of a lunette fresco of by Bramantino, originally over the door of the church of San Sepolcro in Milan and now in the Pinacoteca Ambrosiana in the same city. The painting depicts the dead Christ held up by the Virgin Mary, with John the Evangelist and Mary Magdalene holding up his arms. To the left are Anthony the Great and another standing figure, whilst in the background is a perspective view suggestive of a basilica nave.
|
|
Kassler was also commissioned by the WPA to paint eight fresco lunette murals for the Beverly Hills, California post office funded by the Treasury Section of Fine Arts. The murals depict the history of the Pony Express, postal service, and the daily life of the common American family. The post office is now home to the Wallis Annenberg Center for the Performing Arts. After creating murals for the WPA, Kassler taught at Chouinard Art Institute and later worked as a designer in the aerospace industry.
|
|
During an observation in 1909 by Flammarion with an telescope, irregular patterns were observed, but no canali were seen. Starting in 1909 Eugène Antoniadi was able to help disprove the theory of Martian canali by viewing through the great refractor of Meudon, the Grande Lunette (83 cm lens). A trifecta of observational factors synergize; viewing through the third largest refractor in the World, Mars was at opposition, and exceptional clear weather. The canali dissolved before Antoniadi's eyes into various "spots and blotches" on the surface of Mars.
|
|
Mungo Lunette A lone piece of wood atop a sand dune in Mungo National Park, June 2005 The Mungo National Park is a protected national park that is located in south-western New South Wales, in eastern Australia. The national park is situated approximately west of Sydney in the Balranald Shire. Mungo National Park is the traditional meeting place of the Muthi Muthi, Nyiampaar and Barkinji Aboriginal Nations. People are no longer able to climb the sand dunes as stricter rules have been enforced.
|
|
Santa Cristina al Tiverone Altarpiece is a painting by the Italian Renaissance painter Lorenzo Lotto, executed around 1504–1506. It is still housed in its original location, the parish church of Santa Cristina in Quinto di Treviso, a frazione of Treviso, northern Italy. Measuring 90x179 cm (lunette) and 177x162 cm (central panel), it is signed "Laurentius / Lotus / P.[inxit]" at the base of the throne. It was perhaps commissioned around 1505 by bishop Bernardo de' Rossi, in whose court Lotto worked at the time.
|
|
The lower level consists of a number of squares and three decorated stone portals with griffins at the base of the side portals. Especially the middle portal is extensively decorated. In the lunette of the semi-circular arch over the central portal is a relief with the Christ enthroned between the sun and the moon and flanked by the Virgin, also enthroned and nursing Jesus, and St. Rufinus. The portal is surrounded with three arches decorated with saints, floral and geometrical motifs and intertwined swans.
|
|
The main feature of the façade is the portal, designed by Giorgio da Sebenico with an ornate frame featuring twenty heads and, at the sides, two tall pilasters housing four niches with statues of saints. Above the portal is a Gothic lunette with a bas-relief of St. Francis receiving the Stigmata and, above it, a shell supporting a hexagonal baldachin. The portal leads to a staircase which was rebuilt in the 1920s. The interior has a single nave and is in 18th-century style.
|
|
The Williamsburg County Courthouse, built ca. 1823, and designed by Robert Mills, is a fine example of Roman neoclassical design with its raised first floor, pediment with lunette, and Doric columns. In 1953-54 the courthouse underwent substantial remodeling on the exterior and interior, though it still reflects much of Mill's original design. With the exception of the courthouse, most of the buildings in the district were built between 1900 and 1920 when Kingstree enjoyed prosperity as a retail and tobacco marketing center of Williamsburg County.
|
|
Although destroyed in 1910, the 1771 mansion that is depicted in old photographs appears to be a Georgian- style brick dwelling with gambrel-roofed brick wings. It was replaced by the present large Colonial Revival brick mansion around 1910. The -story, Flemish bond brick dwelling possesses a two-story tetrastyle Roman Doric portico with a lunette in the triangular pediment. A row of four pedimented dormers extends across the slate gable roof with overhanging eaves and a wide frieze with dentils encircles the building.
|
|
The Tomb of St Cristina with Buglioni sculpture in the center the statue illustrates the stone used in the attempt to drown her. Entrance portal lunette by Buglioni Altar of the Miracle inside Grotto of Santa Cristina The church was consecrated by Pope Gregory VII in 1077. The façade was commissioned by Pope Leo X, and completed in 1492 to 1494 with designs by Francesco and Benedetto Buglioni. The two portals have polychrome lunettes by the Florentine artists, in the style of Della Robbia.
|
|
The door is flanked by sidelight windows, and is topped by a transom window. A gabled two-story bay projects from the east side, with a lunette window in the gable, and a two- story ell and garage extend to the rear. The Locke family history on this land dates to 1699, when James Converse bought a large tract of land in this area (then part of Woburn). Locke's descendants include Samuel Locke, who served as President of Harvard College in the 18th century.
|
|
The richly decorated main portal contains a bas relief of the four apostles. The lunette of the left portal is decorated with a statue of the mystical lamb, while the consoles near the vault contain statues of angel Gabriel and Virgin Mary, which are older than the portal. The interior has a nave and two aisles, the former three times larger than the latter, which are separated by alternately arranged stone pillars and pylons. The presbytery is elevated; the 12th century crypt is located under it.
|
|
The single-roomed interior was entirely restored in the 19th century, and could be described as garish in places. The walls are painted to imitate green hanging curtains, with trompe-l'oeil pilasters supporting an entablature with an inscription "Felix Nursiae tellus quae talem genuit alumnum" or "Happy land of Norcia, which gave birth to such a pupil". There is a painting of the patrons over the altar, and over that a lunette containing stained glass showing the Madonna and Child being venerated by saints. The Baroque altar has polychrome marble inlay.
|
|
It now became clear that the Tongeren Gate was the main object. It formed a weak point in the defences as it was protected by a small ravelin only and the city wall behind this was still mediaeval in form, without a full height backing earthwork, though a cavalier was present, the Tongerse Kat. Furthermore, there was only a dry moat to its north. In front of the ravelin a new lunette had been constructed but to obtain the necessary earth, to the south a nearby redoubt protecting the Jeker sluice inlet had been levelled.
|
|
Although the layer corresponded with a time of low rainfall and cooler weather, more rainwater ran off the western side of the Great Dividing Range during that period, keeping the lake full. It supported a significant human population, as well as many varieties of Australian megafauna. A close up of the Lake Mungo lunette During the last ice age period, the water level in the lake dropped, and it became a salt lake. This made the soil alkaline, which helped to preserve the remains left behind in the Walls.
|
|
He painted in 1841 the lunette depicting Session of Experiments at the Accademia del Cimento for the Tribune of Galileo. For the Spinelli Chapel of the Church of Santa Croce, he painted lunettes and walls with Coronation of the Virgin and Church Militant and the prayer by Florence after the plague of 1633. Trecanni Encyclopedia short biography. Guida pittorica ossia analisi intorno lo stile delle diverse scuole di pittura e degli artisti italiani e stranieri antichi e moderni, by Alessandro Petti; Publisher N. Fabricatore, Naples,1855, page 52.
|
|
The tiny cruciform chapel is currently dedicated to Saint Andrew, although the original dedication was to the Saviour, as evidenced by a lunette over the vestibule door representing Christ treading on the beasts, dressed as a general or victorious Emperor. The lower parts of the walls are lined with marble slabs, while the rest of the interior used to be covered with rich, tapestry-like mosaics, as the vault still is. Some parts of these survive, while others were substituted with tempera paintings by Luca Longhi in the 16th century.
|
|
Fort C.F. Smith was a lunette that the Union Army constructed in Alexandria County (now Arlington County), Virginia, during 1863 as part of the Civil War defenses of Washington (see Washington, D.C., in the American Civil War).Cooling, pp. 115-122 : Touring the Forts South of the Potomac: Protecting the Northern Flank of the Arlington Lines—Forts Strong and C.F. Smith: Fort C.F. Smith. It was named in honor of General Charles Ferguson Smith, who died from a leg infection that was aggravated by dysentery on April 25, 1862.
|
|
After hand–to–hand fighting, Outpost Hill was recaptured by the 4th Battalion King's Own Scottish Borderers, reinforced by the 5th Battalion King's Own Scottish Borderers and the 5th Battalion Royal Scots Fusiliers. This lunette fortification continued to be held by the 155th Brigade during the afternoon, despite continuing counterattacks. After all the senior officers became casualties the 70 survivors were withdrawn, minutes before the 7th (Blythswood) Battalion Highland Light Infantry (157th Brigade), under heavy Ottoman artillery fire, arrived from Eastern Force reserve to reinforce them.Falls 1930 Vol.
|
|
The church has a nave and a single aisle. The simple façade is in brickwork, with a Renaissance portal decorated by three saints figures. Notable is the collection of Veronese 16th-century paintings in the six chapels of the aisles. The sixth chapel, patronized by the Pellegrini family, was designed by Michele Sammicheli. The main altarpiece depicts a Madonna and Child with St. Anne and Angels (1579), painted by Bernardino India, while the lunette and flanking pictures depict an Eternal Father and Saints Joseph and Young John the Baptist by Pasquale Ottino.
|
|
It has a small but delicate rose window in the center, and a single portal with a concave recession of a series of columns with a rounded arch. In the lunette is a sculpted image of the holy bishop Esuperanzio with angels. In the architrave are symbols of the evangelists and a gothic inscription. The work is attribute to a Master Giacomo of Cingoli, who also appears to have worked in the church of Santa Maria della Castellaretta and San Francesco in Staffolo, as well as San Francesco and San Nicolò in Cingoli.
|
|
The first cathedral in the town was destroyed by Frederick Barbarossa in 1160. A new building was begun in 1185, but construction was halted in 1212, not to begin again until 1284 but in Gothic style. The church was finished in 1340, with the addition in 1385 of a lengthened apse and a crypt. The façade is in typical Lombard Gothic style, with a single portal surmounted, in the lunette, by sculptures of the Madonna and Child and Saints Pantaleon and John the Baptist over a frieze with the faces of saints.
|
|
At Henri's orders the Nymphe de Fontainebleau by Benvenuto Cellini was installed at the gateway entrance of Château d'Anet, the primary domain of Henri's primary mistress Diane de Poitiers (the original bronze lunette is now in the Musée du Louvre, with a replica in place).Pérouse de Montclos 2009, p. 31. It was also the birth locale of Francis II of France, King Henry II’s firstborn son. Following the death of Henry II in a jousting accident, his widow, Catherine de' Medici, continued the construction and decoration of the château.
|
|
The next chapel is the Chapel of the Madonna dei Chierici, referring to a wooden icon of the Madonna, donated by Jacopo di Ciglio (known as il Barbialla), and carved by Francesco di Valdambrino (early 15th century). The Chapel of Saint Paul opens off the north transept. This chapel was commissioned by the Inghirami family, built for Admiral Jacob Inghirami, and designed by Alessandro Pieroni. The admiral, in a scene including the Baptistery of Volterra, appears in conversation in the lunette of the Procession to Damascus above the altar.
|
|
The lunette outside the gate was subsequently demolished to make way for a new road, while the ramparts on either side of the gate were demolished in the 1930s to cope with the increasing volume of traffic. These alterations resulted in the gate losing its legibility as part of the Floriana Lines, making it look like a triumphal arch. The gate at night The gate was restored between September 2002 and March 2003, at a cost of Lm55,000. The restoration works also included the installation of a lighting system.
|
|
The barrel vaulted main hall rose to a height of 8.80 meters. The wooden, barrel vaulted ceiling was paneled in wood in an intricate lunette and star motif that gave something of the impression of an intricate, curved lattice work. An elaborate, octagonal, Baroque Bimah rose in three tiers almost to the ceiling, but ended in a decorative finial topped by an eagle with wings outspread, and did not touch or support the roof. The Baroque Torah Ark was elaborately carved with lions rampant, floral decorations, and animals.
|
|
Frontispiece of the Saint George Chapel, at the Palau de la Generalitat de Catalunya in Barcelona In architecture, a frontispiece is the combination of elements that frame and decorate the main, or front, door to a building. The term is especially used when the main entrance is the chief face of the building rather than being kept behind columns or a portico. Early German churches often employed frontispieces to hide the aisles and nave. In Kentucky, the frontispieces of Georgian buildings characteristically feature a lunette above the door and colonettes on either side.
|
|
In the east choir reappeared the precious fresco of the Majestas Domini, painted in the lunette above the three-arched window of the upper choir. The two-storeys structure of the choir was a distinctive feature of the Ottonian church, later modified to update the church at the Gothic style and open a high ogival arch. Also the two windows of the east choir preserved the original decoration. Two tondo's show the depiction of two man holding respectively some fishes and some breads, with a reference to the Eucharist.
|
|
Typically, this kind of burse can be securely closed and is fixed with cords so that the priest, deacon, or extraordinary minister of Holy Communion can affix it to his or her person during transport to prevent the consecrated host(s) from being accidentally lost. These objects, and others, such as the lunette (and the monstrance that holds it) that contain a consecrated host, are normally kept within the church tabernacle when they are not being carried. The tabernacle may be behind the main altar, at a side altar, or within a special Eucharistic chapel.
|
|
The dry lake beds support mallee eucalypt and saltbush communities, while the sand dunes are occasionally bare of vegetation, or support mallee and spinifex communities. The area is representative of south-east Australian lunettes or dry lake beds with wind blown dunes on their eastern margins and flat floors, formerly lake bottoms. A lunette is a crescentic dune ridge commonly found on the eastern (lee) margin of shallow lake basins in eastern Australia, developed under the influence of dominant westerly winds. The lunettes provide the area with a special scenic quality.
|
|
The station was built by the Lübeck-Büchen Railway Company (Lübeck-Büchener Eisenbahn, LBE), which opened the railway from Lübeck to Travemünde in 1882. It originally ended at the port and the Strand station was built when the line was extended to the beach in 1898. The original station building was made of wood and it was replaced in 1911/1912 with the current building built with elements of Art Nouveau to a design by Fritz Klingholz. The entrance building is supported by steel trusses and has a triangular gable and lunette.
|
|
The polyptych had been originally commissioned for the Abbey of San Pietro at Perugia, the contract having been signed by Perugino on 8 March 1495. It included a large altarpiece and several panels, within a wooden frame by Domenico da Verona. The altarpiece, depicting the Ascension of Christ, was to have a lunette with the God in Glory between Angels above it, while the predella had not been exactly defined. The payment was 500 golden ducats, and no more than two years and a half were given to complete the work.
|
|
The inscription on the lunette over the entrance confirms that the building was raised in 1191, during the time of Bishop John and counts Vid I and Bartol I (Dujam's sons), with the help of the entire municipality.Frankopanski kaštel The round tower on the northern corner of the castle with a transversely extended lower part, was built after the square, probably in the 13th century. It was restored around 1480, and again around 1600. On the tower there is bricked inscription Aureae Venetorum libertati with lions of St. Mark, which dates from 1500.
|
|
Stono, also known as Jordan's Point (pronounced "Jer-don"), is a historic home located at Lexington, Virginia. It was built about 1818, and is a cruciform shaped brick dwelling consisting of a two-story, three-bay, central section with one-story, two-bay, flanking wings. The front facade features a two-story Roman Doric order portico with a modillioned pediment and lunette and a gallery at second-floor level. About 1870, a 1 1/2-story rear wing was added connecting the main house to a formerly separate loom house.
|
|
Ca' Pesaro short biography La Vita Italiana, Volume 2, Obituary on Pompeo Marino Molmenti, February–April 1895, Edited by Angelo de Gubernatis, page 128. During 1835 to 1840, Molmenti painted a Madonna and child for a lunette at the private oratory of the Papadopolis, which recalled the Renaissance Madonna Giovanelli of Giovanni Bellini. He painted a Santa Teresa (now lost) for the countess, and a San Paolo (destroyed) for the church of San Polo di Piave. From 1843 to 1844, he accompanied the Duke Saverio di Blancas on a trip through Syria and Greece.
|
|
The central one is flanked by two spiral-fluted marble columns nestled on two "lion" bases, and topped by an animal figure. These enclose four thinner columns receding backward, each with their individual capital, generally Corinthian in appearance but some contain human figures. In the pilasters flanking the door stand two figures of the Apostles Peter and Paul, partly rebuilt after an act of vandalism. In the lunette are rectangular bas-reliefs, somewhat haphazardly assembled, depicting the Madonna and Child Blessing and images of Balaam, the Sacrifice of Isaac, and the Agnus Dei-like archetype.
|
|
Pintle/gudgeon sets have many applications, for example: in sailing to hold the rudder onto the boat; in transportation a pincer-type device clamps through a lunette ring on the tongue of a trailer; in controllable solid rocket motors a plug moves into and out of the motor throat to control thrust. In electrical cubicle manufacture, a pintle hinge is a hinge with fixed and moving parts. The hinge has a pin "pintle" and can be both external and internal. The most common type consists of three parts.
|
|
Besides their æsthetic function, these frescoes probably have a celebratory function, and are probably intended to show the abundance and peace obtained in the region thanks to the leadership of the lord of the Castle. The entire cycle has been attributed to an artist known as 'maître Colin' due to a graffito in the 'lunette of the guard house' that identifies 'Magister Collinus' as the author of the work. The same artist is known as the author of some paintings in the chapel on the first floor of the Castle.
|
|
O'Brien designed three windows depicting St John, St Flannan, and St Munchin, for the Honan Chapel in University College Cork in 1916. Her 1923 design of the centenary memorial window in St Andrew's church, Lucan, represented the parable of the Good Shepherd. When in 1925 An Túr Gloine became a cooperative society, O'Brien became a shareholder along with Ethel Rhind, Evie Hone, and Michael Healy. Her 1926 lunette The spirit of night represented night, twilight, and dawn, and was for the private home of Keng Chee Roselands in Singapore, the building was later demolished.
|
|
Today the market centers around a cast iron fountain, and is typically entered via either a tripartite facade on Princes Street, or a bayed entrance from the Grand Parade. The market is known for its interior; which consists of a gabled central bay, central archways, and stained glass lunette windows. It was damaged during a 1981 fire, but is now fully restored. Today's group of buildings were constructed in the mid-19th century with the ornamental entrance at Princes Street being constructed in 1862 by Sir John Benson.
|
|
During the Battle of Brandywine on September 11, 1777, Proctor's Pennsylvania Artillery manned a 4-gun lunette on a knoll that overlooked Chadds Ford. Two of the guns were French-made 4-pounders, another was a 3-pounder Hessian prize that was rebored as a 6-pounder and the last was an 8-inch howitzer cast in Philadelphia. At 8:00–9:00 am an artillery duel began between the American guns and the British artillery on the west side of Brandywine Creek. Sometime afterward, Washington conferred with Proctor on how things were going.
|
|
He studied for three years with Andrea Voltolini in Verona, then moved to Venice to work in the studio of Antonio Bellucci. He painted numerous altarpieces in Verona for the churches of San Gregorio, San Francesco di Paolo, San Niccolò, and for the San Francesco chapel of San Fermo Maggiore. In the Collegio de' Nodari he frescoed a lunette with an Adoration of the Magi, as well as ovals with stories of the Old and New Testament, and miracles of San Zeno Bishop. He was buried in Santa Maria della Scala.
|
|
The album was released in three versions: CD, deluxe digipak CD, and double vinyl LP. The track "Fly Boy Blue/Lunette" was made available as a digital download on 15 January 2014. On the same day, Elbow's YouTube channel posted a video of the band performing the song in the studio, directed by long-time collaborators The Soup Collective. The song belatedly debuted on the UK Singles Chart at number 183 on 9 March 2014. The first official single from the album was "New York Morning", released on 27 January 2014.
|
|
Cappella Maggiore The present interior is emphatically Baroque, giving an impression of majesty and grandeur. Among the works of art are an Annunciation by Ludovico Carracci (a fresco in the central lunette of the presbytery), a Romanesque Crucifixion in cedarwood, and a sculptured group in terracotta depicting the Compianto su Cristo morto ("Lament over the Dead Christ"), by Alfonso Lombardi, of the early 16th century. In the apse are early 20th-century paintings by Cesare Mauro Trebbi (1847–1931) including Saint Anne in Glory.Fonte: Guida di Bologna, Guido Ricci (5th edn.), p.
|
|
The house is listed in the Central List of Cultural Monuments. The facade of the clergy house is ended with a lunette cornice, and lunettes are decorated with sgraffito which they are derived from the Schwarzenberg Palace. In the brickwork of the facade is sgraffito plaster, architectural elements out of sandstone and on the first floor there is a medallion with the year 1894. On the ground floor there are shields with the signs of the New Town and the Knights of the Cross with the Red Star that are used as a decorative element.
|
|
Monument to Pope Gregory XV and Cardinal Ludovisi (c. 1709-14) by Le Gros The first chapel on the right has an 18th- century altarpiece showing Saints Stanislaus Kostka and John Francis Regis Worshiping the Virgin and Child. The second chapel has an altarpiece depicting St Joseph and Virgin and a lunette (right wall) depicting the Last Communion of St Luigi Gonzaga, both by Francesco Trevisani (1656–1746); the cupola was painted by Luigi Garzi. The third chapel has an 18th-century altarpiece of Presentation of the Virgin in the Temple by Stefano Pozzi.
|
|
The work is a triptych, although the scenes are set in the same location (an unusual feature for the time), a room whose vaults follow the shape of the panel; the scenes, painted using a crude geometrical perspective, are separated by two white piers in the foreground. The vaults have a starry night sky, as typical of Gothic edifices of the time. The left scene depicts Joachim, Mary's father, waiting together with a child and an old man. Behind him, an opened lunette and arcade show the court of a Gothic palace.
|
|
Stephen was a Greek-speaking Jew, one of the first deacons named in Jerusalem by St. Peter – Ordination of St Stephen with St Stephen distributing Alms (lunette). His prayers (The Prayer of St. Stephen) earned him the hostility of his opponents in the city, who eventually stoned him to death in front of the city gate. Laurence was a deacon (Ordination of St Laurence) to whom Pope Sixtus II had entrusted the Church's treasure in order to give it to the Roman emperor Valerian (St. Lawrence Receiving the Treasures of the Church).
|
|
Interior view The building has a rectangular plan, with a nave and two aisles, and a raised apse. The lower part of the façade has numerous blind arches and, in the middle, a statue of the Virgin Mary. At the top, dating to the reconstruction (together with the brickwork part of the annexed bell tower) after the 1690 earthquake, is a rectangular window. The master of the façade (1210) was one Master Filippo (as testified by an inscription in the lunette), while the arched portal is attributed to one Master Leonardo.
|
|
In the lunette above the red stave is a crucifix; on the left, the Virgin Mary and John the Apostle can be seen at Jesus' feet. The rest of the icons depict the prophets from the Old Testament, and at the top of the wall, the Last Judgment is painted. The church sustained heavy damage in the flood of 1879, and was renovated from 1880–81. During the renovation, the little-known Slovak artist Jan Hodina painted a fresco on the ceiling depicting the creation of the world.
|
|
In the facade they are inserted a rosette and a central portal, above which, in the lunette, there is a bas- relief with the representation of the Annunciation. High bell tower is located on the left side of the church. The interior has three naves, divided by pillars, with a trussed ceiling. In the nave there is the baptismal basin for immersion baptism: it has an octagonal shape; The roof consists of five panels with glass windows, depicting the image of the Madonna and the symbols of the four evangelists.
|
|
Michelangelo, who had visited Bologna in 1494, conceded that his Genesis on the Sistine Chapel ceiling was based on these reliefs. The architrave above the door contains five reliefs with representations from the New Testament. The lunette contains three free- standing statues : Virgin and Child, Saint Petronius (with a model of Bologna in his right hand) and Saint Ambrose (carved by another sculptor Domenico Aimo in 1510). Originally this third statue had to represent the papal legate Cardinal Alemmano, but this intention was quickly abandoned after the cardinal had been evicted from Bologna.
|
|
The Stela of Tetisheri is a limestone donation stele erected by Pharaoh Ahmose I, founder of the Eighteenth Dynasty of Egypt. It sits in the construction of his mortuary complex that included a cenotaph to his grandmother Queen Tetisheri, Senakhtenre's Great Royal Wife and grandmother of both Ahmose and his Principal Wife, Ahmose-Nefertari. The stele was excavated in Ahmose's cult center at Abydos, found in 1902, in two pieces. A twin scene in the upper lunette shows king Ahmose presenting offering tables to seated Tetisheri (whose name is within some of the cartouches).
|
|
The house was a -story brick building, built in a Colonial Revival style with Classical detailing. The large gable on the front façade was covered in slate, and embellished with console brackets, scalloped trim, a carved oculus encircled by a frame and voussoirs, and a large two-part lattice window. The window was originally contained in an ornate surround, with a sill supported by modillions, colonettes, and a lintel with carved swags topped with a shell motif. Side dormers with a central lunette, also faced with slate, crossed the slate roof.
|
|
In 1913 the palace was acquired and refurbished by the Banca di Firenze, who commissioned the architects Ezio Cerpi and Adolfo Coppedè (1913–1915). They roofed the courtyard and added ceramic and stain- glass decorations by Chino and Galileo Chini. In 1931, it was acquired by the Istituto Nazionale della Previdenza Sociale. Mullioned windows and lunette reliefs The rusticated stone bricks made of yellow-ochre sandstone pietra forte on the ground floor give way to pale stucco walls on the second floor (Piano Nobile) with finely decorated mullioned windows with rounded arches.
|
|
The church is located on San Marone hamlet, in the lower part of the city. Originally in Romanesque style, erected on the location of the protector martyr. The sanctuary has a central naive as well as two lateral ones and conserves ancient architectural remains; the façade has a lunette in the main gate where there is the depiction of the Virgin with Child between San Marone and Santa Domitilla, work realized at the end of the 19th century by Sigismondo Nardi. The remains of the saint are conserved under the altar.
|
|
Map of Civil War forts near Alexandria, showing Fort Scott (ca. September 1861) Fort Scott was a detached lunette constructed in May 1861 to guard the south flank of the defenses of Washington during the American Civil War. It was named for General Winfield Scott, who was then General-in-Chief of the Union Army. An historic marker and a small remnant of the fort are the only evidence of the site of the fort on the grounds of what is now Fort Scott Park in Arlington County, Virginia.
|
|
The chimneys are corniced and in exposed face brick, and the roofs' gabled hips have small lunette ventilators. The arcade front formed a panel in face brick and stucco to Maitland Street. The loggia was topped by a stucco- rendered entablature bearing the name Narrabri Post Office, in the manner of Barnet's other larger post offices of the time, the arch keystones rise up to support the entablature immediately overhead. The arches themselves are dressed in robust stucco archivolts and spring from a set of astylar brick piers.
|
|
The church was initially documented by 1020, but refurbished along the centuries, including a major reconstruction in the 18th century. Some of the walls are from the original church. The bas relief, depicting a Madonna and Child with saints and a donor, on the lunette of façade portal dates from the 15th century. Inside the church has a late 15th-century triptych depicting the Madonna and Child with Saints, set into an elaborate Gothic or Byzantine frame, attributed to the Maestro di Borsigliana, now known as Pietro da Talada.
|
|
The local architect and sculptor Master Radovan worked on the cathedral's gateway (main west portal) early in its construction. Most of the portal was carved by the master himself but some other hands are distinguishable, those of his pupils and followers. Finished and signed in 1240, it is a monumental and perhaps unique work of this great Croatian artist, of whom the inscription on the base of the lunette says: "the best of all in this artisanship". In terms of its thematic concept, the portal is divided into two parts: upper and lower.
|
|
The second phase of the attack on 19 April against Ali Muntar, for which 157th Bde was in reserve, was less successful. The Turkish positions known as 'the Labyrinth' had not been sufficiently suppressed by the bombardment and although 155th (South Scottish) Brigade took a lunette on Outpost Hill, it could not be held, and changed hands several times. It was finally abandoned at 18.20, just as 1/7th HLI arrived to reinforce the position. 1/7th HLI then helped 156th (Scottish Rifles) Brigade to establish a line across the ridge.
|
|
Cisternino di città is an austere neoclassical design which was approved in 1837 and completed in 1848. The design was greatly altered during its construction: originally the close proximity of neighbouring buildings meant that only one facade would be visible, but alteration and demolitions in the city during 1840 caused the building to face two different new thoroughfares. The result of the redesign was a great loggia supported by ionic columns raised above a heavy base pierced only by sparse and narrow windows. The sides of the building are embellished by apses with lunette windows.
|
|
An older church, as is common in the region, was severely damaged by an earthquake in 1456, and a larger church was built in the general site around 1587, while parts of the original church were incorporated into private residences. Further earthquakes have led to further reconstructions across the centuries. From the ancient church are two sculptures in the lunette of the entrance portal. The church houses a Nativity by Fabrizio Santafede, a Death of Saint Joseph by Antonio Solario, a Deposition of Christ (1658) by Benedetto Brunetti, and a Virgin and Child with Saints and Prelates (1752) by Paolo Gamba.
|
|
Lunette of Villa di Castello as it appeared in 1599, painted by Giusto Utens, formerly in the collection of Museo di Firenze com'era Museo di Firenze com'era ("Museum of Florence as it was") was a history and archaeology museum, one of the civic museums of the city of Florence. The museum was located on Via dell'Oriuolo in a former convent of the Oblates. It closed permanently in October 2010 to make space for the enlargement of the Biblioteca delle Oblate. Some of its exhibits will be incorporated into a new City museum portraying Florence through the ages, to be housed in Palazzo Vecchio.
|
|
The San Sebastiano Triptych is a 1464–1470 tempera on panel altarpiece by Giovanni Bellini and others. Its central panel of saint Sebastian measures 127 by 48 cm, its lunette of God the Father and the Annunciation 59 by 170 cm and its side panels of John the Baptist and Antony the Great 103 by 45 cm. It is now in the Gallerie dell'Accademia in Venice. It is one of four triptychs produced between 1464 and 1470 for Santa Maria della Carità, Venice, which had been rebuilt in the 1450s and whose altars were built between 1460 and 1464.
|
|
The Nativity Triptych is a 1464–1470 tempera on panel altarpiece by Giovanni Bellini and others. Its central panel of the Nativity measures 127 by 48 cm, its lunette of the Holy Trinity flanked by Augustine and Dominic 59 by 170 cm and its side panels of Francis of Assisi and Victor 103 by 45 cm. It is now in the Gallerie dell'Accademia in Venice. It is one of four triptychs produced between 1464 and 1470 for Santa Maria della Carità, Venice, which had been rebuilt in the 1450s and whose altars were built between 1460 and 1464.
|
|
The San Lorenzo Triptych is a tempera on panel altarpiece by Giovanni Bellini and others. Its central panel of Saint Lawrence measures 127 by 48 cm, its lunette of the Madonna and Child 59 by 170 cm and its side panels of John the Baptist and Antony of Padua 103 by 45 cm each. It is now in the Gallerie dell'Accademia in Venice. It is one of four triptychs produced between 1464 and 1470 for Santa Maria della Carità, Venice, which had been rebuilt in the 1450s and whose altars were built between 1460 and 1464.
|
|
The Triptych of the Madonna is a 1464–1470 tempera on panel altarpiece by Giovanni Bellini and others. Its central panel of a standing Madonna and Child measures 127 by 48 cm, its lunette of the Man of Sorrows flanked by angels 59 by 170 cm and its side panels of Jerome and Louis of Toulouse 103 by 45 cm. It is now in the Gallerie dell'Accademia in Venice. It is one of four triptychs produced between 1464 and 1470 for Santa Maria della Carità, Venice, which had been rebuilt in the 1450s and whose altars were built between 1460 and 1464.
|
|
The great fresco of the Madonna and Child Enthroned with Saints Augustine, Francis, Anthony of Padua and a Holy Monk above the altar, with a lunette that shows the God the Father Blessing, is enclosed by a white marble frame with rich golden decorations. There are two arched windows on the two adjacent walls with splays decorated with grotesques. The first wall is decorated by the fresco of the Assumption of the Virgin Mary while last section is covered by the funeral monument of Giovanni Basso (†1483). That was created around 1485 by the workshop of Andrea Bregno.
|
|
The stone is combined with the red brickwork and white cotto of the upper part of the two side bell towers. The wide gable of the central section, the two blind arcades and the big rose window in the middle are all elements in the tradition of Lombard-Emilian Romanesque architecture. The entrance is through three portals, also in Romanesque style, with four orders of small double columns. The lunette of the central portal has a relief depicting the "Martyrdom of St. Andrew", while that of the left portal shows "Cardinal Bicchieri offering the Church to St. Andrew, enthroned".
|
|
The Lycée du Parc is a public secondary school located in the sixth arrondissement of Lyon, France. Its name comes from the Parc de la Tête d'Or, one of Europe's largest urban parks, which is situated nearby. It provides a lycée-level education and also offers classes préparatoires, or prépas, preparing students for entrance to the elite Grandes Écoles such as Ecole Polytechnique, Centrale Paris, ESSEC Business school or HEC Paris. The school was built on the cite of the former Lunette des Charpennes, part of the Ceintures de Lyon system of fortifications built in the 19th century.
|
|
In 2011, two stained glass lunette windows by Robert Anning Bell, which had been in storage since 1966, were placed in the nave of the church following restoration. They had originally been in a mausoleum built in the churchyard to house the remains of Lady Isabel Wilson, which also contained her marble effigy. One of the windows depicts Lady Isabel and her dead baby being carried to heaven by six angels watched by her husband. The other window depicts the personifications of Lady Isabel's virtues – Courage, Hope and "Love to the Death" – surrounded by child-angel musicians.
|
|
During the attack on the Saint-Laurent Lunette, he launched himself onto the parapet amidst a hail of projectiles to lead the action and arouse his soldiers' courage. In 1835, when Maréchal Count Clauzel was sent to Algeria as Governor General, the young Prince Royal asked his father for permission to accompany him, so he could fight the Emir Abd El-Kader. He participated with Clauzel's army in the Battle of Habrah, where he was wounded, and in the capture of Mascara in December 1835. He then participated in the taking of Tlemcen in January 1836.
|
|
The Bagatti Valsecchi Museum is a historic house museum in the Montenapoleone district of downtown Milan, northern Italy. The Bagatti Valsecchi Museum’s permanent collections principally contain Italian Renaissance decorative arts (such as maiolica, furniture, tapestry, metalwork, leather, glassware and precious table-top coffers made of ivory, or “stucco and pastiglia”), some sculptures (including a Madonna and Child lunette by a follower of Donatello), and many paintings. European Renaissance weapons, armor, clocks and a few textiles and scientific and musical instruments complete the collection assembled by the Barons Bagatti Valsecchi, and displayed in their home, as per their wishes.
|
|
Remains of the original Catalan-Gothic structure include the main portal, with an architrave featuring angels, and a fresco in the lunette with The Virgin Mary and Saints Michael and Baculus with Cardinal Brancaccio (15th century). A sculpture of St. Michael from another portal has been moved in the interior. Artworks in the interior include the tomb of cardinal Brancaccio, canvasses from Luca Giordano school, a 16th-century altarpiece by the Sienese painter Marco Pino and a marble tabernacle in the sacristy. Antonio Valente, the first major keyboard composer of the Neapolitan school, was organist here in 1565-80\.
|
|
The Laurel Railroad Station was originally constructed in 1884 for the Baltimore and Ohio Railroad along the railroad's Washington Branch, about halfway between Baltimore and Washington, DC. The architect was E. Francis Baldwin. The structure is constructed of brick, and is one and a half stories, modified rectangle in form with overhanging gabled and hipped roof sections with brackets and terra cotta cresting, and an interior chimney. There is a louvered lunette in one gable, stick work in another, and fish-scale shingling under truncated hipped section; shed shelter, segmental arched openings. It is Queen Anne in style.
|
|
During the Siege of Vicksburg, elements of the brigade were initially held as a reserve, but were eventually sent to various weak points in the line. On May 19, Union troops made a determined assault against the Confederate lines, and the 2nd Missouri Infantry was sent to a position known as the 27th Louisiana Lunette. The 2nd Missouri Infantry and the 27th Louisiana Infantry Regiment fought off Union attempts to carry the position. Later that day, a small group from the regiment burned a house lying between the lines to prevent Union troops from using it as cover.
|
|
Each panel originally contained a painted lunette or medallion by Theodore de Bruyn, depicting a classical scene in grisaille. The walls too have plaster panels which contained medallions, matching those of the ceiling. In 1845, the room was redecorated by the architect David Brandon, who replaced Bruyn's paintings with polychrome depictions of Dante's Divine Comedy. The walls to which Brandon added mirrors, however, retained much of their 18th-century plasterwork. In 1929, the owner, George Ferdinando, stripped the dining room of its painted panels, mirrors, fireplace and doors and sold them to a firm of architectural antique dealers, Crowther's.
|
|
It was founded by Saint Charles Borromeo, who built a Franciscan convent (now used by the Pontifical French Seminary) and the church within the ruins of the Baths of Agrippa in 1592. It was restored in 1627, but at some later point the roof collapsed and it was abandoned. In 1883, the Congregation of the Holy Spirit acquired the property, and rebuilt the church, giving it a new facade designed by Luca Carimini in 1888. On the lower of the two levels, the main door is framed by two columns holding a semicircular tympanum with a decorated lunette.
|
|
In 1525 he returned to paint in the Annunziata cloister the Madonna del Sacco, a lunette named after a sack against which Joseph is represented propped. In this painting the generous virgin's gown and her gaze indicate his influence on the early style of pupil Pontormo. In 1523 Andrea painted a copy of the portrait group of Pope Leo X by Raphael; this copy is now in the Museo di Capodimonte in Naples, while the original remains at the Pitti Palace. The Raphael painting was owned by Ottaviano de' Medici, and requested by Federico II Gonzaga, Duke of Mantua.
|
|
In 1336 a statue of Saint Zeno was placed in the west front, sculpted by Jacopo di Mazzeo. Between 1379 and 1440 the façade was reconstructed with the addition of three tiers of loggias and a portico. In 1504 Andrea della Robbia was commissioned to undertake the decoration of the archivolt (for which he created a festoon with plant themes and, in the middle, the crest of the Opera di San Jacopo), of the portico as well as of the lunette with bas-reliefs over the central portal, depicting the "Madonna with Child and Angels". He finished the works in 1505.
|
|
The New Testament makes no mention of a meeting between Jesus and his mother, during the walk to his crucifixion, but popular tradition introduces one. The fourth station, the location of a 19th-century Armenian Catholic oratory, commemorates the events of this tradition; a lunette, over the entrance to the chapel, references these events by means of a bas-relief carved by the Polish artist Zieliensky. The oratory, named Our Lady of the Spasm, was built in 1881, but its crypt preserves some archaeological remains from former Byzantine buildings on the site, including a mosaic floor.
|
|
Another resident of Pacentro was Pope Celestine V. This pope, originally known as Pietro da Morrone, was a 13th-century monk-hermit of the Benedictine order who lived in a cave in the nearby mountains and was renowned for his holiness. He was elected pope by acclamation in L'Aquila in 1294, but was the only pope to resign after a reign lasting only several months. His image can be seen on a medieval fresco in a lunette on the facade of the Church of San Marcello in Pacentro. Through its history, the town was successively in the feudal domain of several powerful families.
|
|
Lunette in the Sistine Chapel of Shealtiel with Josiah and Jeconiah. Shealtiel (, Shə’altî’ēl), transliterated in Greek as Salathiel (Greek: Σαλαθιηλ, Salăthiēl), was the son of Jehoiachin, king of Judah. () The Gospel of Matthew 1:12 also list Shealtiel as the son of Jeconiah (line of Solomon). Jeconiah, Shealtiel as well as the most of the royal house and elite of Judah were exiled to Babylon by order of Nebuchadnezzar II of Babylon after the first siege of Jerusalem in 597 BC. During the Babylonian captivity, Shealtiel was regarded as the second Exilarch (or king-in-exile), following his father.
|
|
T.C.I., Firenze e dintorni 1964:281. He followed it with the Putti dell'Uva (the "Grape Children"); the Madonna Addolorata for Santa Croce, Florence (1860), and the bas-relief of the Triumph of the Cross, accompanied by figures representing all the ages of Christianity, in a lunette over its main entrance. Abel, by Giovanni Dupré; (Hermitage Museum) In 1863 Dupré created his finest work, the Pietà (1860–65), for the family tomb of the marchese Bichi-Ruspoli in the cemetery of the Misericordia, Siena. This group was awarded the Grande medaille d'honneur at the International Exhibition in Paris.
|
|
The villa in about 1600, from a lunette painted by Giusto Utens Exterior The limonaia Villa La Magia is a Medici villa in the comune of Quarrata, in the province of Pistoia, to the west of Florence, in Tuscany in central Italy. It was built by the Panciatichi family in the fourteenth century, and was bought by Francesco I de' Medici in 1583 or 1584. It has been owned by the comune of Quarrata since 2000, and since 2013 has been one of the fourteen sites which together make up a UNESCO World Heritage Site, the Medici Villas and Gardens in Tuscany.
|
|
By 21 October the siege lines reached an unfinished lunette on the Rhine-facing side of the fortress, and the French began setting up a battery there on 23 October. The defenders were by this time reduced to musket fire and grenades, as most of their artillery had been dismounted or destroyed by enemy fire. On 23 October the French opened fire not only on the hornwork, but also began battering the walls of the main fortress with cannon fire. After two failed assaults by Berwick's grenadiers, they succeeded in briefly occupying the hornwork; it was reoccupied by the Germans the next day.
|
|
Oakfield Station is located adjacent to the railroad tracks formerly of the Bangor and Aroostook Railroad, at the end of Station Street, south of the town's rural village center. It is a single-story wood frame structure, nine bays in length and a single room deep, set on a modern concrete foundation. It has a gable-on-hip roof, where there are half- round windows and exposed rafters in the gable ends. The main facade faces southeast toward the track, with an off-center projecting bay topped by a gable with bracketed eave and lunette window.
|
|
Lunette of St. John and the Eagle by Correggio. Works in the right chapels include an Cristoforo Caselli's Adoration of the Magi (1449, third chapel), Mazzola Bedoli's altarpiece of Madonna with Child and St. James (c. 1543-1545, fourth chapel), and 18th century copies of Correggio's canvasses in the Del Bono Chapel, whose arch has maintained frescoes executed by his pupils under his design (Conversion of St. Paul and Saints Andrew and Peter). The ceiling of the left crossing was painted by Anselmi with a St. Benedict Enthroned and Four Saints (1521), while the walls show terracotta sculptures by Antonio Begarelli (St.
|
|
The imposing building, echoing the Italian palazzos designed by Bramante and Raphael during the Renaissance, is ornamented with enclosed pediments, balustrades, and rows of arched windows. The beautiful bronze entry lanterns are replicas of the torch-holders designed in 1489 by Niccolo Grosso for the home of Filippo Strozzi, the richest banker in Florence. The building features six lunette mosaics on allegorical themes, designed by artist Earl Stetson Crawford: a group of three representing "Columbia's progress in the arts and sciences during the present century" and another group of three representing "Law and her attributes". Crawford won the commission through an open competition.
|
|
The east side of the building is also divided into bays by piers, with arch-headed fixed windows of eight panes at every second bay. The north and south ends have large battened gates giving entry to the internal siding, and lunette windows centred within the gable. Connected to the south end of the building is a timber office, with a posted verandah to its north and west sides, and a gabled corrugated iron roof. Enclosing this part of the complex is a perimeter fence of timber posts with a piece of upturned railway track as the rail.
|
|
The mosque was built on a terrace overlooking the Cistern of Aspar, the largest of the three Roman reservoirs in Constantinople. The large courtyard (avlu) has a colonnaded portico with columns of various types of marble and granite. The mosque has panels of coloured tiles that were decorated using the cuerda seca technique. These are similar to the lunette panels above the windows on either side of the fireplace in the Circumcision Room (Sünnet Odası) of the Topkapı Palace and were almost certainly made by the same group of Iranian craftsmen working for the Ottoman court.
|
|
Construction resumed in 1840. First the Fort de la Vitriolerie in 1840, then Fort de Sainte-Foy-lès-Lyon and the Lunette des Charpennes in 1842, Fort de la Duchère in 1844, the Redoute du Petit Sainte-Foy-lès-Lyon in 1852, and finally the Redoute du haut-Rhône in 1854. Map of Lyon and its forts in 1844 A law was voted in on 10 July 1851, which defined the methods of destruction of these buildings or construction on their land. By 1854, 19 structures including 10 forts had been built around Lyon, creating a nearly fortified perimeter.
|
|
In 1908–09, Abbey began an ambitious program of murals and other artworks for the newly completed Pennsylvania State Capitol in Harrisburg, Pennsylvania. These included allegorical medallion murals representing Science, Art, Justice, and Religion for the dome of the Rotunda, four large lunette murals beneath the dome, and multiple works for the House and Senate Chambers. For the Senate chamber he finished only one painting, Von Steuben Training the American Soldiers at Valley Forge, and he was working on the Reading of the Declaration of Independence mural in early 1911, when his health began to fail. He was diagnosed with cancer.
|
|
Hibbard,Michelangelo, 275. In the book of Acts Paul states that he saw an impossibly bright light and heard the voice of Christ himself. The blindingly bright light is the Apex of this story; it is because of this that Michelangelo chose to situate this painting on the Western wall with the eastern exposure – so that the lunette situated above The Crucifixion of St. Peter would provide a bright light to illuminate it throughout the day. Conversely, with The Crucifixion of St. Peter being a much darker story, it is situated on the eastern wall that faces west.
|
|
As for other Perugino's works, the panel is divided into two sections, in a pattern derived from his Assumption (now lost) of the Sistine Chapel: the upper part with God and celestial figures, and the lower one, with the saints. In the middle is the ascending Mary, enclosed within an almond which sharply ends at the lunette, in turn occupied by a blessing God surrounded by angels. Below are four saints, portrayed above an indeterminate hilly landscape: from left, Bernard degli Uberti, John Gualbert, Benedict and Michael Archangel. At the lower edge is the artist's signature, reading "PETRVS PERVSINVS PINXIT AD MCCCCC".
|
|
A semicircular fanlight, or lunette, is located in the center of the gable of the building's main façade, providing lighting to the building's attic. Chambers described this window as the most antiquated of the building's architectural elements and may have been based on the fanlight of the county's earlier courthouse built in 1833, which was located to the building's east. Each of the main façade's first- and second-story windows and the entrance are adorned with white wooden label moldings. The main entrance is composed of a tall double wooden entrance door, with its original handle and locks.
|
|
Lunette over entrance porch of theatre, Lennox Hill Hospital, New York; Portrait plaques of Adolf Kussmaul, Ismar Isidor Boas and Carl Anton Ewald. Carl Ewald was a pioneer in the field of gastroenterology, and was a catalyst in making Augusta Hospital a center for pathological studies of digestion. Ewald is remembered for investigations of gastric secretions, and the introduction of intubation as a medical aid in gastric analysis. The eponymous "Ewald tube" is named after him,Digestive endoscopy in the second millennium by Francisco Vilardell a device that serves as a gastric tube for emptying the contents of the stomach.
|
|
The lunettes are frescoed with Saints Agnes & Lucy face the storm and St. Stephen and the Deacon St. Lawrence. The altarpiece depicts the Martyrdom of St Andrew. Detail of ceiling showing the trompe l'oeil effect The second chapel to the right is the Cappella della Passione, with lunette frescoes depicting scenes of the Passion: Jesus in Gethsemane, Kiss of Judas, and six canvases on the pilasters: Christ at the column Christ before the guards, Christ before Herod, Ecce Homo, Exit to Calvary, and Crucifixion. The altarpiece of the Madonna with child and beatified Jesuits replaces the original altarpiece by Scipione Pulzone.
|
|
Lunette in the Sistine Chapel of Jeconiah with Shealtiel and Josiah. The Babylonian Chronicles establish that Nebuchadnezzar captured Jerusalem the first time on 2 Adar (16 March) 597 BCE.D. J. Wiseman, Chronicles of Chaldean Kings in the British Museum (London: Trustees of the British Museum, 1956) 73. Before Wiseman's publication of the Babylonian Chronicles in 1956, Thiele had determined from biblical texts that Nebuchadnezzar's initial capture of Jerusalem and its king Jeconiah occurred in the spring of 597 BCE, whereas Kenneth Strand points out that other scholars, including Albright, more frequently dated the event to 598 BCE.
|
|
In 1855, Sir John Lysaght Pennefather proposed the construction of a citadel on the high ground of the Sciberras peninsula, on the site of the Valletta Land Front and the surrounding area. In 1872, the demolition of the city's outworks was proposed, while the demolition of the entire land front was suggested in 1882. Eventually, the fortifications were left largely intact, and the only part that was demolished was St. Madeleine's Lunette, which was located near the entrance to the city (on the site now occupied by the Triton Fountain). The fortifications were eventually decommissioned between the late 19th or early 20th centuries.
|
|
The frescoes flanking the altar show the deacons Laurentius, Euplius and Stephen, as well as St. Nicholas, the patron of the ground floor of the church – one of the most popular saints and the patron saint of sailors, merchants and bankers. The life of St. Nicholas is depicted in 18 scenes in the narthex (the second section of the church). The unknown artists included elements of contemporary life in those scenes, and many of the figures are quite realistic – especially their countenances. The lunette above the entrance of the narthex displays the Virgin and Child, St. Anna and St. Joachim, and Christ Blessing.
|
|
The sanctuary added by Soane at the west end has Ionic columns and a domed ceiling with gilded plaster. The marble altar is by Giacomo Quarenghi, who later worked in Imperial Russia; the painting behind it is by Giuseppe Cades, and stained glass in the lunette window above is by Francis Eginton. Pevsner describes in some detail the important collection of vestments, dating from the 15th century onwards. Ownership of the chapel was transferred to the Wardour Chapel Trust in the late 1890s, and the running costs and maintenance of this Grade I listed chapel are now funded entirely through voluntary donations.
|
|
In the lunette, above the windows are flowers flanked by billowing sails, the latter in reference to the Pazzi maritime enterprises. At the south corner of Via Proconsolo is a copy of the coat of arms of the Pazzi family, the original sculpted by Donatello, which at one time had been hidden. Similar heraldic symbols, two gilded dolphins back to back around a flaming cup, are in the capitals of the courtyard columns.Palazzo Spinelli Il Repertorio delle Architetture Civili di Firenze, (Repertoire of Civil Architecture of Florence), a project of the Palazzo Spinelli Association curated by Claudio Paolini; entry on Palazzo Pazzi.
|
|
A church at the site was built in 1217; the brick tracery vaults of the ceiling were added in 1457. The present facade was added in 1879, in an Gothic style, and displays statues of various saints. Atop a pillar in the piazza just in front of the church is a statue of the Madonna and Child with a Scapular (1705) by Andrea Ferreri. In the lunette above the side entrance portal is a bas-relief of St Martin on horseback giving half his robe to a Beggar (1531) by Francesco Manzini; the portal has a classical decoration with bucranium (cow skulls).
|
|
The gate also had casemates with two corpi di guardia which housed the sentries watching the gate. In 1947, under the direction of the Reconstruction Minister Dom Mintoff, the sentry rooms were demolished in order to make way for two modern openings to enable passage for vehicular traffic. The gate was originally protected by a triangular lunette and a tenaille, but these were dismantled in the 19th century to make way for a new road. The gate illuminated at night The gate was restored in 1999 and 2004, and archaeological excavations were carried out, revealing the gate's original drawbridge pit.
|
|
A nineteenth century galleried portico with white columns fronts the mansion. Rose Hill Mansion is approached by a driveway off an entrance road adjoining the northern boundary of Governor Thomas Johnson High School from the west side of North Market Street. The portico forms two porches: One is on the ground floor at the entrance level with four Doric columns supporting a structure between the columns and a roof consisting of an architrave, frieze and elaborate, carved cornice. The other is above on the second floor with four Ionic columns supporting the pediment lighted by a lunette window.
|
|
Ywain, one of King Arthur's Knights of the Round Table, while at Arthur's court hears from Sir Colgrevance about an encounter he had with a knight, who defeated him in a fight. Ywain sets out, kills the knight and marries the knight's widow Alundyne with the aid of her serving-lady Lunet (or Lunette), moving into the castle of Alundyne's late husband. However, when Arthur and his men visit them, Gawain encourages Ywain to go off adventuring, leaving his wife behind. During their adventures the two are separated, then find themselves fighting each other but recognise each other and are reunited.
|
|
It was dedicated to God, with only the stained glass window (designed by George Bell) being dedicated to Christ explicitly. On the outside of the chapel, the Greek inscription ΟΙΚΟΣ ΠΡΟΣΕΥΧΗΣ ΠΑΣΙ ΤΟΙΣ ΕΘΝΕΣΙΝ translates as A House of Prayer for all People. This is a verse from Isaiah 56, which is referred to by Jesus in the Gospel of Matthew. Kemp also donated a 19th-century Italian terracotta derived from the 'Annunciation lunette' in the Ospedale degli Innocenti in Florence, by Andrea della Robbia, the subject of which was symbolic to her of the special importance of women in serving God.
|
|
Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ignudi, medallions, bronze figures, and telamones. Detail from The Creation of Adam, portraying the creation of mankind by God. The two index fingers are separated by a small gap []: some scholars think that it represents the unattainability of divine perfection by man Michelangelo's frescoes form the back-story to the 15th century narrative cycles of the lives of Moses and Christ by Perugio and Botticelli on the Chapel's walls. While the main central scenes depict incidents in the Book of Genesis, much debate exists on the multitudes of figures' exact interpretation.
|
|
Falls p. 341 Until the 53rd (Welsh) Division captured Samson Ridge at 13:00, the 155th Brigade on the left flank of the 52nd (Lowland) Division, was exposed to heavy fire from rifles and machine guns.Falls p. 343 The 5th Battalion King's Own Scottish Borderers, following the remaining tank continued the attack, wheeling slightly away to the left to attack and occupy the Ottoman lunette fortification (two faces forming a projecting angle on two flanks), on Outpost Hill at 10:00. Meanwhile, the 4th Battalion Royal Scots Fusiliers suffered very heavy casualties while attacking Middlesex Hill to the northeast and was stopped within of their objective.Falls 1930 Vol.
|
|
Examples of the mingling of Byzantine and Latin styles (as cited by James Hall) include: 1\. The "lunette over the entrance with a half-length figure of St. Michael and above him an orant Virgin in a medallion supported by flying angels, with an inscription in Greek on the lintel at the foot. The treatment is wholly Byzantine except for the Latin motif of a crown on the Virgin's head". 2\. The evangelists around the enthroned Christ in the Apse are in the form of the four symbolic creatures of the Latin tradition, rather than being shown as figures (often seating at writing desks) in the Greek manner. 3\.
|
|
Lunette of Villa di Castello as it appeared in 1599, painted by Giusto Utens The villa and garden of Villa di Castello in July 2013 The Villa di Castello, near the hills bordering Florence, Tuscany, central Italy, was the country residence of Cosimo I de' Medici, Grand Duke of Tuscany (1519-1574). The gardens, filled with fountains, statuary, and a grotto, became famous throughout Europe. The villa also housed some of the great art treasures of Florence, including Sandro Botticelli's Renaissance masterpieces 'The Birth of Venus' and 'Primavera'. The gardens of the Villa had a profound influence upon the design of the Italian Renaissance garden and the later French formal garden.
|
|
In the interior, on the left wall is a fresco of the Sibyl advising Augustus about the coming of Christ, attributed to Baldassarre Peruzzi, but now suspected to be a work of Daniele da Volterra. The marble altar (1517) is attributed to Lorenzo di Mariano, called il Marrina. A large lunette was frescoed by Girolamo di Benvenuto, while the side frescoes depicting the Birth of the Virgin, Annunciation, and Glory of the Virgin (1600) were by Ventura Salimbeni. To the right of the altar is a painting depicting the Blessed Ambrogio Sansedoni asking protection of the city of Siena by the Virgin (1590), by Francesco Vanni.
|
|
The mortar consists of a smooth-bored barrel with a breech and a breech-block frame, a frame with shock absorbers, mount with training and equilibrating mechanisms, a two-wheel traveling carriage with the suspension, a boom for changing from the firing to the traveling configuration, a baseplate and a towing bar with a lunette. The sights are carried separately and are mounted on the mortar only when firing. The shock absorbers are used to protect the sights from firing vibrations and also provide the link between the ordnance and the mount. It is also used when the mounting returns to the loading position after firing.
|
|
The lobby features two allegorical lunette murals, one by Edwin H. Blashfield on the left (east) and one by Kenyon Cox on the right (west). The two artists knew one another well, having worked on projects for the World's Columbian Exposition in Chicago in 1893 and for the Library of Congress in Washington, D.C., in 1896 and 1897. The two men worked in separate studios, but regularly compared notes while working on their commissions for the Citizens Building. Blashfield's mural, "The Uses of Wealth", depicted Wealth (a female figure clad in gold) seated on the right, a cornucopia overflowing with gold at her feet.
|
|
There are three main sections of decoration: the first two are narratives and secular motifs; the large compositions from the vaults and the walls from the main body of the building; these have been largely removed. The third group, too damaged to be removed, are left inside the small oratory of the tribune. Under the lunette of the apse, there are two figures sitting under arches: St. Nicholas on the left of the window and Saint Baudilus at the right. We know it is Saint Baudilus because of the inscription BAVDILI(VS) even though some of the lower part of the image is missing.
|
|
The Cardinal and Theological Virtues is a lunette fresco by Raphael found on the south wall of the Stanza della Segnatura in the Apostolic Palace of the Vatican. Three of the cardinal virtues are personified as statuesque women seated in a bucolic landscape and the theological virtues are depicted by putti. The fresco was a part of Raphael's commission to decorate the private apartments of Pope Julius II. These rooms are now known as the Stanze di Raffaello. After completing his three monumental frescoes Disputation of the Holy Sacrament, The Parnassus, and The School of Athens in the Stanza della Segnatura, Raphael painted the Cardinal and Theological Virtues in 1511.
|
|
Born Effie Brooks Pope in Cleveland, Ohio, she was the only child of industrialist and art collector Alfred Atmore Pope and his wife Ada Lunette Brooks, and was a first cousin to Louisa Pope, the future mother of architect Philip Johnson. When Effie was 19, she changed her name to Theodate in honor of her grandmother Theodate Stackpole. She graduated from Miss Porter's School in Farmington, Connecticut and later hired faculty members to tutor her privately in architecture. The first woman to become a licensed architect in both New York and Connecticut, in 1926 she was appointed a Fellow of the American Institute of Architects.
|
|
The main attraction of Bitetto is the cathedral, dedicated to Saint Michael, one of the main examples of Apulian Romanesque architecture, built in 1335. It has a sober façade divided by false columns with a big rose window. Of the three portals, the central one has a rich series of sculptures: two stone lions supporting columns with carved capitals showing vegetable motifs; these in turn support is a lunette with basreliefs of Christ and the twelve apostles. The frame has instead scenes from the New Testament. The interior was plastered in the 18th century, but was restored to the original Romanesque style in 1959.
|
|
Historical marker Cannon on the site of the fort Fort San Carlos was a military structure built in 1816 to defend the Spanish colonial town of Fernandina, Florida, now called Old Town, which occupied a peninsula on the northern end of Amelia Island. The fort, a lunette fortification, stood on the southwest side of the town next to the harbor, on a bluff overlooking the Amelia River. It was made of wood and earthworks, backed with a wooden palisade on the east side, and armed with an eight or ten gun battery. Two blockhouses protected access by land on the south, while the village was surrounded with military pickets.
|
|
Radovan's portal – entrance to the Cathedral Trogir Cathedral lunette Trogir (; ; Ancient Greek: Τραγύριον, Tragyrion or Τραγούριον, Tragourion) is a historic town and harbour on the Adriatic coast in Split-Dalmatia County, Croatia, with a population of 10,818 (2011)Croatian Census 2001 (Popis stanovništva 2001) and a total municipal population of 13,260 (2011). The historic city of Trogir is situated on a small island between the Croatian mainland and the island of Čiovo.Frommer's Croatia by Karen Torme Olson & Sanja Bazulic Olson It lies west of the city of Split. Since 1997, the historic centre of Trogir has been included in the UNESCO list of World Heritage Sites for its Venetian architecture.
|
|
In the late 1840s, the Tussaud brothers Joseph and Francis, gathering relics for Madame Tussauds wax museum, visited the aged Henry-Clément Sanson, grandson of the executioner Charles-Henri Sanson, from whom they obtained parts, the knife and lunette, of one of the original guillotines used during the Reign of Terror. The executioner had "pawned his guillotine, and got into woeful trouble for alleged trafficking in municipal property".Leonard Cottrell (1952) Madame Tussaud, Evans Brothers Limited, pp. 142–43. On 6 August 1909, the guillotine was used at the junction of the Boulevard Arago and the Rue de la Santé, behind the La Santé Prison.
|
|
The Chora Church is not as large as some of the other surviving Byzantine churches of Istanbul (it covers 742.5 m²) but it is unique among them, because of its almost completely still extant internal decoration. The building divides into three main areas: the entrance hall or narthex, the main body of the church or naos (nave), and the side chapel or parecclesion. The building has six domes: two above the esonarthex, one above the parecclesion and three above the naos. Governor Quirinius Mosaic of the journey to Bethlehem The mosaic in the lunette over the doorway to the esonarthex portrays Christ as “The Land of the Living”.
|
|
Yet there is the same striking use of illusionism which also characterises the inner panels; this is especially true of the faux stone grisaille statues of the saints. Lighting is used to great effect to create the impression of depth; van Eyck handles the fall of light and casting of shadow to make the viewer feel as if the pictorial space is influenced or lit by light entering from the chapel in which he stands. Detail showing the Erythraean Sibyl The figures in the lunettes refer to prophecies of the coming of Christ. The far left lunette shows the prophet Zechariah and the far right one shows Micah.
|
|
Done around the same time as the earlier Visitation, these works (such as Joseph in Egypt, at left) show a much more mannerist leaning. According to Giorgio Vasari, the sitter for the boy seated on a step is his young apprentice, Bronzino. In the years between the SS Annunziata and San Michele Visitations, Pontormo took part in the fresco decoration of the salon of the Medici country villa at Poggio a Caiano (1519–20), 17 km NNW of Florence. There he painted frescoes in a pastoral genre style, very uncommon for Florentine painters; their subject was the obscure classical myth of Vertumnus and Pomona in a lunette.
|
|
He was taught by the French Jesuit theologian, mathematician, physicist and controversialist Honoré Fabri and became part of a circle formed by Fabri which included Giovanni Domenico Cassini, Claude Francois Milliet Deschales, Christiaan Huygens and his brother Constantijn, Gottfried Leibniz, René Descartes and Marin Mersenne.Introduction to Jesuit Geometers by Joseph F. MacDonnell - Chapter 4 Influence on Other Geometers He became a member of French Academy of Sciences in 1678, and subsequently became active as an astronomer, calculating tables of the movements of the Sun, Moon, and planets and designing contrivances for aiming aerial telescopes."Méthode pour se servir des grands verres de lunette sans tuyau pendant la nuit". In: Mém.
|
|
Side view Designed by William R. Walker & Son and constructed by S. Mason & H. A. Smith in 1886, the one story red brick Queen Anne style building is basically rectangular with a low-pitched hipped roof. The red bricks are laid in dark red mortar and is contrasted by the granite sill course and brownstone belt course at window sill level. The building has a central closed entry pavilion which projects out and has two porches oriented to face Mulberry and Cedar Street. The building has three lunette windows on the sides of the main block, each divided into thirds, and a smaller windows on the pavilion's pedimented end.
|
|
The massive west front is divided into five parts by six lesene (applied strips), each of which is surmounted by a tabernacle housing a statue. The façade has several mullioned windows with, in the centre, a large rose window framed by a motif inspired by Roman antique ceilings, decorated with rosettes, masks and star motifs. The rose window Frescoes in the Theodelinda Chapel The façade is considered Romanesque in its structure and Gothic in its decoration. Typical of the latter is the porch, with 14th century gargoyles on the sides and the 13th century lunette with the 16th century busts of Theodelinda and King Agilulf.
|
|
Jean Le Michaud d'Arçon, ironically one of Montalembert's detractors, designed and built a number of lunettes (an outwork resembling a detached bastion) which were in accord with Montalembert's concepts. These lunettes were constructed at Mont-Dauphin, Besançon, Perpignan and other border fortresses, commencing in 1791 shortly before the Revolution. In the same year, Antoine Étienne de Tousard took up a position on Malta as an engineer to the Order of Saint John and was instructed to design a small fort to command the entrance to Marsamxett Harbour called Fort Tigné. Exactly how Tousard became acquainted with d'Arcon's lunette design is unknown, but the resemblance is too close to be coincidental.
|
|
The Neo- Palladian facade uses Carthage limestone and red pressed brick, with an adapted Palladian window centered in the facade. Rather than a fully glazed infill within the limestone Palladian framework, the lower portion of the unit uses three arched windows with an entablature over the center window dividing it from the lunette under the principal arch. The street level is heavily rusticated limestone with three arched entrances and wrapping a short way around the right (east) side to form an additional arch. The east wall contains small limestone-framed ventilation openings near the top, as well as emergency exits and a high opening for stage scenery.
|
|
In the church there is an wooded altar triptych composed by Dubrovnik painters from the 16th century, showing the Mother of God, St. Cosmas and Damian, St. John the Evangelist and Mary Magdalene. The Church of St. Blaise (Vlaho) was built in the later half of the 14th century. The identically named fraternity, during the time of the Republic of Dubrovnik, built it on a clearly visible location (Gornji Pjevor) and was later consecrated to its patron St. Blaise. The façade has a lunette and a rose window (a round window on the shape of a Gothic quatrefoil) which extends as a small belfry.
|
|
Those used for relics, and occasionally for the host, typically had a crystal cylinder in a golden stand, and those usually used for hosts had a crystal window in a flat-faced golden construction, which could stand on its base. The monstrance was most often made of silver-gilt or other precious metal, and highly decorated. In the center of the sunburst, the monstrance normally has a small round glass the size of a Host, through which the Blessed Sacrament can be seen. Behind this glass is a round container made of glass and gilded metal, called a lunette, which holds the Host securely in place.
|
|
Its complexity attests to a high degree of skill when he began working with his father on the decoration of the church of Santi Camillo e Croce, where he painted in his father's style an altarpiece Saints Nicholas, Matthew and Lucy. He also collaborated with Gregorio in the decoration of the cupola, the Triumph of the Holy Cross (completed between 1715–1726). He also painted the lunette fresco, Heraclius Carrying the Cross to Jerusalem, simplifying his father's designs. From 1720 to 1722, Lorenzo painted an altar piece, Virgin and child with Saints Joseph, Ignatius Loyola and Francis Xavier, for the Church of Santi Ignazio e Francesco Saverio.
|
|
Vauban later criticised this, claiming that if the redoubt had still be present he had not dared to attack at this point because of its enfilading fire. Such fire was still provided by a large protruding hornwork to the north of the gate and the Groene Halve Maan, a demi-lune to its south. The Tongeren Gate in 1670, before the lunette was added At 21:00, 17 June, the two assault trenches towards the Tongeren Gate were opened. Work progressed at a steady pace under the cover of darkness and already in the late night a start could be made with the first parallel, their connecting trench, which was finished the next day.
|
|
The style of the polychrome cuerda seca tilework of the mihrab is strikingly similar to that of the mihrab in the Yeşil Mosque (built 1419-21) in Bursa and it is therefore considered likely that the tiles were produced by the same team of craftsmen. In Bursa the craftsmen signed the mihrab as "the work of the masters of Tabriz". After completing the tiles of the Muradiye mosque it is believed that the "Masters of Tabriz" also produced the underglaze painted lunette panels of the Üç Şerefeli Mosque (completed in 1447) in Edirne. The blue-and-white hexagonal tiles of the Muradiye Mosque are the earliest example of underglaze painted tiles produced in Ottoman Turkey.
|
|
The other three are the San Lorenzo, Madonna and San Sebastiano Triptychs. They were probably all planned by Giovanni's father Jacopo. The lunette was influenced by Donatello and Andrea Mantegna, whilst the central panel is not thought to be by Giovanni and is similar to a work by Vivarini in the Narodni Gallery in Prague. By the time of the Fall of the Republic of Venice all four triptychs had been attributed to Vivarini – during the French occupation they were broken up and re-mounted before being assigned to the Gallerie dell'Accademia, which took over the church of Santa Maria della Carità Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007.
|
|
Clarke exhibited his first painting at the Paris Salon of 1885, and had his first success with the wryly humorous A Fool's Fool, exhibited at the Salon of 1887. The Night Market in Morocco, an exotic scene by firelight, earned him a diploma of honor at the 1891 International Art Exhibition of Berlin, and was exhibited at the Paris Salon of 1892. Clarke exhibited paintings at the 1893 World's Columbian Exposition in Chicago, Illinois—A Fool's Fool, The Night Market in Morocco, Portrait of Madame d' E, A Gondola Girl, and the full-size cartoon for a 3-part lunette stained glass window: Morning, Noon and Night. He was awarded a medal for his paintings.
|
|
It was then largely farmlands, settled by farmers mostly of German, Swiss, French and Dutch origins. In the early years, the town officers met once a year in homes or taverns, but in 1872 the town decided to build its own hall. For $1000, Louis Severin constructed the hall at the corner of what are now Bender Road and Port Washington Road, a fairly simple one-story frame building with a front porch supported by chamfered posts and a lunette window in each gable end. With Over the years the surrounding cities and suburbs annexed bits of the rural Town of Milwaukee until in 1950, the City of Glendale was incorporated out of half of the remainder.
|
|
Farmers Bank of Fredericksburg, also known as The National Bank of Fredericksburg, is a historic bank building located at Fredericksburg, Virginia. It was built in 1819–20, and is a -story, rectangular red-brick building in the Federal style. It features a slate-covered front gable roof with a lunette window in the front pediment, wide cornice, three pairs of brick chimneys, and engaged pedestal columns with full entablature on the front facade. The front portion of the main floor had been used as a banking house since its construction, while the rooms at the rear and those on the second floor housed the bank's cashiers and their families from 1820 to 1920.
|
|
The land on which the station is situated is described as a flat sandy plain on the north western margin of the Gawler Craton covered with sand sheets and dunefields. Low mulga woodlands and tall myall shrublands over perennial grasses dominate with occasional salt lakes and lunette systems. In 1947 the station was enjoying an excellent season after good rains produced an abundance of fresh green feed for stock during the summer. Unfortunately the area was also rife with rumours that the Woomera Test Range was to be expanded and that stations including Commonwealth Hill, Bulgunnia, Roxby Downs and Andamooka would lose some of land which in turn would reduce their wool clip.
|
|
All these prisons were run by private individuals and inmates had to pay one 'libbra' a day to their gaoler to cover his expenses, meaning wealthier people could buy better treatment. The poor were very harshly treated and mainly had to cover their fees from alms - there were periodic amnesties on particular holidays and religious festivals, but these only released a very limited number of prisoners and did not include murderers, political prisoners and those who had committed other serious crimes. Lunette in the oratorio dei Buonomini di San Martino showing people visiting those in gaol, which was one of the seven works of mercy. The painting probably shows the Stinche prison, which was near the oratory.
|
|
The renovated Grande Coupole Meudon Great Refractor (also known as the Grande Lunette) is a double telescope with lenses (83 cm + 62 cm), in Meudon, France. It is a twin refracting telescope built in 1891, with one visual and one photographic, on a single square-tube together on an equatorial mount, inside a dome. The Refractor was built for the Meudon Observatory, and is the largest double doublet (twin achromat) refracting telescope in Europe, but about the same size as several telescopes in this period, when this style of telescope was popular. Other large telescopes of a similar type include the James Lick telescope (91.4), Potsdam Great Refractor (80+50 cm), and the Greenwich 28 inch refractor (71.1 cm).
|
|
The clock features "Mahogany crotch and Satinwood veneers", a "double lunette inlay", and a movement likely made by James Doull of Charlestown, Massachusetts. According to a memo prepared for First Lady Betty Ford in 1975, the previous First Lady Patricia Nixon "... was partially gifted (and partially purchased) the 'wonderful collection of very beautiful and rather feminine American furniture' by the Seymours from Boston's Vernon Stoneman in 1972." Since installation in the Oval Office, it has been at the room's northeast corner (between the visiting guests' door from the Personal Secretary's office and the portal to the West Colonnade). Immigrants from England, the Seymours (father and son) are considered master cabinetmakers in the federal style.
|
|
In the lower one is a series of 36 ancestors of Jesus, following the genealogy of Jesus as mentioned in the Gospel of Matthew; the first two and the last two ancestors have been painted on the pillars next to the choir screen. In the upper row are scenes of the life of Mary (Deposition, Triumph in Heaven, Assumption) from the late 12th century Burgundian school. The high altar has, in a tabernacle, a colored terracotta triptych from the mid-15th century, while behind are two Romanesque bas-reliefs in stone, depicting the Archangel Gabriel and the Madonna. The access to the cloister is surmounted by a lunette in Gothic style, portraying the Virgin Enthroned with two angels.
|
|
A regiment of Waller's infantry, five companies of Haslerig's, and five companies of Kentish Men attacked Alton from the north and north- west. The Royalist infantry, however, took effective cover inside buildings, out of which they fired quickly; they particularly favoured a large brick house near the church. This house, however, was soon abandoned as Waller's artillery, positioned at the foot of the hill to the west, fired upon it, forcing these defenders to retreat to the church. The Parliamentary regiments from London and four companies from Farnham Castle descended the hill: Waller's Red Regiment attacked a lunette and breastwork which the Royalists had built and which they were using as an effective fortification.
|
|
That was the time when he made his probably most famous works, the wrought iron gates and lunette of the County Hall of Eger with grapes and crests. Hungary: A Cultural and Historical Guide, Nicholas T. Parsons, 1990, pages 356-357 Henrik Fazola started the search for iron, the commodity of his job in the area of Eger and found it in the Bükk Mountains. He began to invest his money, gained from his works, in mining; however, he did not want to give up fulfilling the smith orders, so he called for his brother, Lénárt in 1768 to take over his locksmith workshop. Their mother had already lived with Henrik in Royal Hungary.
|
|
Treptow telescope (aka Himmelskanone) did away with a dome, and the telescope tube extends above the building in this image Grande Lunette of Nice Observatory of 1886, with 76 cm aperture James Lick telescope of 1888, with 91 cm aperture Great refractor refers to a large telescope with a lens, usually the largest refractor at an observatory with an equatorial mount. The preeminence and success of this style in observational astronomy defines an era in modern telescopy in the 19th and early 20th century. Great refractors were large refracting telescopes using achromatic lenses (as opposed to the mirrors of reflecting telescopes). They were often the largest in the world, or largest in a region.
|
|
The villa in about 1600, lunette painted by Giusto Utens in the Villa di Artimino Exterior wall of the estate The Villa di Marignolle is a Medici villa in the hills between Galluzzo and Soffiano, in the south-western suburbs of the comune of Florence, in Tuscany in central Italy. It passed into the hands of the Medici family after the Pucci Conspiracy, when it was confiscated from Lorenzo di Piero Ridolfi by Francesco I de' Medici, Grand Duke of Tuscany. Francesco passed it to his illegitimate son Antonio. It is one of the many villas of the Medici family of which Giusto Utens painted lunettes in the Villa di Artimino between 1599 and 1602.
|
|
The tomb monument's design included figures of the three Virtues in niches, Cossa's family arms, a gilded bronze recumbent effigy laid out above an inscription-bearing sarcophagus supported on corbel brackets, and above it a Madonna and Child in a half-lunette, with a canopy over all. At the time of its completion, the monument was the tallest sculpture in Florence, and one of very few tombs within the Baptistry or the neighboring Duomo. The tomb monument was the first of several collaborations between Donatello and Michelozzo, and the attribution of its various elements to each of them has been debated by art historians, as have the interpretations of its design and iconography.
|
|
Cathedral of St. Lawrence done by Radovan in 1240 Radovan () was Croatian sculptor and architect who lived in Trogir in the 13th century. In Croatian he is commonly referred to as ' or "Master Radovan". Virtually no information exists about the personality and career of this artist, save for his monumental Romanesque portal of the Trogir cathedral. Radovan inscribed his name and the year of making of the main portal, 1240, on the lunette above the entrance: The text informs us that master Radovan was the best in the art of sculpture and that the project was completed in the time when a Tuscan, Treguan from Florence, had been the bishop of Trogir.
|
|
Lunette of Villa di Castello as it appeared in 1599, painted by Giusto Utens Villa di Castello was the project of Cosimo de' Medici, first Duke of Tuscany, begun when he was only seventeen. It was designed by Niccolò Tribolo who designed two other gardens: the Giardino dei Semplici (1545) and the Boboli Gardens (1550) for Cosimo. The garden was laid out on a gentle slope between the villa and the hill of Monte Morello. Tribolo first built a wall across the slope, dividing it into an upper garden filled with orange trees, and a lower garden that was subdivided into garden rooms with walls of hedges, rows of trees and tunnels of citrus trees and cedars.
|
|
Lunette of Villa di Castello as it appeared in 1599, painted by Giusto Utens Villa di Castello was the project of Cosimo I de' Medici, first Duke of Tuscany, begun when he was only seventeen. It was designed by Niccolò Tribolo who designed two other gardens: the Giardino dei Semplici (1545) and the Boboli Gardens (1550) for Cosimo. The garden was laid out on a gentle slope between the villa and the hill of Monte Morello. Tribolo first built a wall across the slope, dividing it into an upper garden filled with orange trees, and a lower garden that was subdivided into garden rooms with walls of hedges, rows of trees and tunnels of citrus trees and cedars.
|
|
The façade is divided into three parts, with a pediment and a two storied projecting porch or protiro embellished with sculpture, which is the work of the twelfth-century sculptor Nicholaus, who also executed and signed the entranceway at the abbey church of San Zeno, also in Verona, and Ferrara Cathedral. The portico is supported on the backs of two griffins, similar to those from the dismantled Porta dei Mesi at Ferrara. The lunette depicts the Virgin holding the Christ child in high relief, centered between two low relief scenes, the Annunciation to the Shepherds (left) and the Adoration of the Magi (right). On the lintel in medallions are the three theological virtues, Faith, Charity and Hope.
|
|
Last Supper at Convento della Calza In 1518-19, at the Convento della Salzo, in another series of frescoes on which Andrea was likewise employed, he executed the Departure of John the Baptist for the Desert, and the Meeting of the Baptist with Jesus. In 1520-21, at the villa Medici at Poggio a Caiano he frescoed a turgid Triumph of Cicero on the walls of the salon, but again he is overshadowed by Potormo's naturalistic lunette of Vertumnus and Pomona. The array of figures appears distraught rather than celebratory, the antique details are a melange of quotations, and the architect a fancy of Quattrocento style.Triumph of Cicero at Poggio a Caiano.
|
|
The execution of an Angel started by his father was entrusted to Biffi, for which he still received payments in 1638, but which would then be finished by Vismara. In 1632 he obtained the money for the effigy of the Eternal started by Gianandrea for the chapel of the Madonna of the Tree and sent by him. From that year until 1635 he worked around the relief of Ester and Assuero for a lunette of the facade, already designed and started by the father according to the design of Cerano. The angels are also recognized in the cathedral in the niches of the internal piers on the sides of the Main Cross.
|
|
Shoreham Fort Gun Platform Shoreham Fort Gun Emplacement Shoreham Fort central Caponnier Shoreham Fort - inside Caponnier Military re- enactment at Shoreham Fort on 4 June 2011 The fort consisted of a gun platform 15 ft (4.6m) above sea level and was in the shape of a lunette, that is a straight sided crescent. The gun platform and ramparts were surrounded by a ditch, with a Carnot wall running along its centre, designed to halt attackers attempting to cross the ditch. The wall itself had loopholes for defenders to fire through. Instead of the open bastions at the Littlehampton fort, Shoreham had a caponier with a brick roof at each of the three angles of the walls.
|
|
The painted panels are inserted in an architectural order of Corinthian pilasters with candelabra, which hold up a thick entablature with an elaborate frieze. The sculptural complex is topped by the cymatium, consisting of a pedestal bearing a dedicatory inscription, on which is inset a statue of Sant'Apollonio with a crosier in gilded bronze. The canopy is crowned with a lunette bearing a Madonna with Child and angels, in turn completed by a torch from which emanate false gold bronze flames. Two small pedestals flank the canopy, connecting to the central body via stone elements with characteristic wave profiles, above which are statuettes of San Faustino on the left and San Giovita on the right.
|
|
That their patron belonged to the Medici family is testified by the presence of Piero di Cosimo de' Medici's coat of arms in the other lunette, and by the link between the saints depicted in this panel and the male members of the family. Piero di Cosimo lived in Palazzo Medici from 1456. In the center is Saint John the Baptist, patron saint of Florence, flanked by the Saints Cosmas and Damian (protectors of the Medici, and in particular of Cosimo de' Medici, Piero's father). On the right, in the foreground, is Saint Peter of Verona, protector of Piero di Cosimo de' Medici, and next to him is Saint John the Evangelist, protector of his brother Giovanni.
|
|
The room features a large lunette window on the west wall looks out upon the West Colonnade, the West Wing, and the Old Executive Office Building. The room is used by first families as a less formal living room than the Yellow Oval Room. White House architect James Hoban's initial 1793 plan and 1814 reconstruction design both placed a double Imperial stair form here, with a single stair rising from the ground floor at the terminus of the Cross Hall and dividing to two stairs returning double runs to the east in the present space. Hoban's original plan was not built as designed, as Thomas Jefferson engaged Benjamin Henry Latrobe in 1803 to reverse the orientation of the stair.
|
|
Sinopia of Peter's Repentance Peter's Repentance is found in the left semi-lunette of the upper register, where a very schematic preparatory drawing of the sinopiaThe sinopia is the underdrawing for fresco made with reddish, greenish or brownish earth colour with water brushed on the arriccio layer, over which the intonaco is applied before painting. Red earth (iron oxide) mined by the town of Sinopia during the Renaissance period (present Turkey), currently depleted, gave the name to the method. During Giotto times and before Sinopia was the main preparatory drawing - the entire fresco was designed in Sinopia directly on the wall. Cartoons were implemented later after the perspective was "invented" and more thorough composition development became essential.
|
|
The façade was entirely restored: on the ground floor there are five doors, the main one has a circular arch surmounting a thick portal, with a wrought-iron lunette;Roberto Calia: I Palazzi dell'aristocrazia e della borghesia alcamese; Alcamo, Carrubba, 1997 on the first floor there are three wrought-iron balconies, with slight lintels, having a stone gallery and corbels and some rinceaus. The façade is completed by the eaves, with a denticular cornice at its basis. Giuseppe Polizzi, referring to the old construction, writes: Casa Di Stefano opposite to Badia Nuova. On the ground floor a door with a circular arch and gothic shape around it, extending as far as the foot.
|
|
Lunette in the Vibia arcosolium featuring the Banquet Scene (above) and arch panel featuring the final judgement of Vibia (below) Vibia and Vincentius were buried in the same arcosolium, which dates to the late 4th century CE and is decorated with multiple painted scenes. There are three scenes on the underside of the arch. The first of these depicts Vibia as Proserpina being abducted by Pluto on a quadriga, a scene which was a common visual metaphor for death in Roman art. The painted caption of the scene explains that it is the "Abduction and Descent of Vibia," which is further reinforced by the presence of Mercury in the scene, fulfilling his role as a psychopomp.
|
|
The center scene here shows the final judgement of Vibia by Pluto and Proserpina (labelled Dispater and Aeracura); she is led into the scene by Mercury and Alcestis, and the Fata Divina, or the shades of the Dead, look on. The third scene in the arch shows Vincentius in a happy afterlife, as one of "seven devout priests" reclining and banqueting together. The lunette of the arcosolium is captioned inductio Vibies, and it shows Vibia being led by an angelic figure into the afterlife. She is then shown, like Vincentius above, reclining on a stibadium couch and feasting with six other figures, who, according to the caption, were also judged to be righteous (bonorum iudicio iudicati).
|
|
The Church of St. John the Baptist was built in the 14th century, beside the duke's house. Construction began in 1340 by the priest Andrija Škrinjić, and was completed in 1418. In the lunette above the entrance doors there is an inscription referring to the construction of the church and an emblem of the priest Vlahanović who had completed the construction. It is long and wide. In the interior section of the church on the altar there is a painting of the saint dating from 1515, while on ceiling there is a Baroque composition containing biblical themes. The church served as a chapel for the Duke of Lastovo and in it Mass was served up until 1864.
|
|
The Chapel of St. Mary at Grža was built in 1442 through a donation by the priest Marin Vlahanović who had left in his last will funds so that the chapel be built and consecrated to the Mother of God. The chapel has a Gothic style with traces of a reminiscent Romantic style. Vlahanović's emblem (a lily flower between two diagonal belts and two eight-pointed stars) and inscription regarding the construction is embossed in the lunette above the chapel entrance doors of the simple but very beautiful façade, with the façade extended by three Gothic openings in the small (triple) belfry. The church in the Baroque period was called Our Lady of Snow.
|
|
In 1979 Colalucci undertook a series of experiments to discover the right approach for the restoration of the frescoes of the Sistine Chapel. The investigation began by testing small areas of the wall fresco, Conflict over the Body of Moses by Matteo de Lecce, which had similar physical and chemical attributes to the painting techniques employed on Michelangelo's frescoes. Trials to find the right solvents were continued on a small portion of the Eleazar and Matthan lunette. Because of the height of the ceiling and the inaccessibility of the ceiling frescoes, the precise nature of the damage and the problems that would be encountered by the restoration team could not be entirely foreseen until after the decision to restore was taken, and the scaffolding was in place.
|
|
Among his works were Pier Capponi che lacera i turpi capitoli, Joseph sold by brothers at the cistern of Dothai, and Creation of the Soul. When his father Luigi left Milan to paint the Salone dell'Iliade (Hall of the Illiad) at the Pitti Palace in Florence, it was his younger son, Francesco, who helped him in this work. When Leopoldo Medici saw the work, he awarded a stipend for Francesco to study in Rome and Venice Francesco went to paint a lunette in the hall where his father had worked, painting Hector che arsa una nave greca e cosi adempiuto il decreto dei fati, viene da Aiace Talamonio costretto a indietreggiare. In Venice he made a copy of Titian's Assumption of the Virgin.
|
|
In the early 1712 the property was leased to Christopher O'Brien, whose son Edward (or Edmund) demolished much of the old castle in 1754. The new Georgian house was described in Weir's Houses of Clare as "A gable-ended, eighteenth century, two-storey, seven bay house over a basement, on a mound facing east towards the Ennistymon falls, with a central one-bay pedimented breakfront, containing a side and fan-lit front door, and a lunette above the second storey window… A yard and stabling stood some distance to the north-west." In 1786, the house was referred to as Innistymond, the seat of Edward O'Brien. In 1792 the house passed down to Edward's daughter Ann O’Brien and her husband, the High Court judge Matthias Finucane.
|
|
The Adoration of the Magi (c. 1490) Tempera on panel, 151 x 209 cm Galleria Nazionale dell'Umbria, Perugia Fiorenzo di Lorenzo ( 1440 – 1522) was an Italian painter, of the Umbrian school. He lived and worked at Perugia, where most of his authentic works are still preserved in the Galleria Nazionale dell'Umbria.Fiorenzo di Lorenzo, Umbria e Arte Fiorenzo is known from a few signed works, including the Madonna of the Recommended (1476) and a niche with lunette, two wings and predella (1487), as well as from the documentary evidence that he was decemvir of that city in 1472, in which year he entered into a contract to paint an altarpiece for the church of Santa Maria Nuova, the pentatych of the Madonna and Saints.
|
|
They portray scenes from the New and Old Testament, together with episodes of the life of Theoderic: the duel with Odoacer and the King hunting a deer, a symbol of the devil in Theoderic's Legend. The sculptures associated with the porch, the portal itself, and those set into the wall to the right, depicting scenes from the Old Testament and the Flight of Theodoric, are the work of the sculptor Nicholaus and his workshop. The New Testament scenes and other historical subjects to the left of the porch are by a member of Nicholaus's workshop named Gugliemus. Their signature inscriptions are located over the lunette, in the background of "The Creation of Man" and on the cornice above the sculptures on the left.
|
|
The frescoes, fragments of which are now lost, occupy the chapel's walls, vault, arch and lunette. Lorenzo Monaco was initially a miniaturist, but also worked on (wooden) panels: an outstanding example of the latter is the altarpiece in this chapel, his Annunciation. The theme of the frescoes is connected to the contemporary dispute about the Immaculate Conception of Mary, involving the question of whether she had been born without the original sin: the dispute saw the Franciscans and the Benedictines (including the Vallumbrosan Order holding the church at the time) against the Dominicans. Monaco's frescoes were inspired by the apocryphal Gospel of James, dealing with Mary's infancy and supporting the Vallumbrosan's view that she had been not naturally born by her father.
|
|
' Vizcaya as seen from Biscayne Bay In 1905, the Lazarus Scholarship committee granted him a three-year scholarship to study mural painting in Italy, and in 1906 Chalfin moved to Rome where he lived at the American Academy. Over the next three years, Chalfin split his time between Rome, Florence, Venice and Paris, studying and copying the works of Piranesi, Fra Angelico and Tiepolo, as well as copying a lunette by Jacopo Pontormo at a villa in Florence, most likely Vertumnus and Pomona. His final month abroad was in Paris, completing his scholarship by painting a large decorative panel entitle The Poet in 1908. In 1909, in honor of his work, the American Academy in Rome named Chalfin a fellow.
|
|
A church at the site was present by the mid-12th century, built initially in Romanesque-style and affiliated with a Benedictine monastery, derived and subsidiary to the Abbey of Fonte Avellana. By the 17th century, the church became property of the Bishop of Recanati. The gabled facade was refurbished in the thirteenth century: into the facade are inserted two Gothic round rose windows, one semicircular lunette window, and a rounded stone portal decorated with a bas-relief of the Madonna Enthroned with Archangels Michael and Gabriel (1253) sculpted by Mastro Nicola Anconetano. The bell- tower at the rear of the church dates to the 12th century, and was found to have 15th-century fresco fragments inside that are attributed to Pietro da Recanati.
|
|
Madonna and Saints, Sarnano Marchisiano da Tolentino (active 1496–1543), also known as Marchisiano di Giorgio da Tolentino, was an Italian painter, born and active in his native Tolentino, Italy. He led a tumultuous life, and was pardoned of a murder charge by Pope Julius II. One of his pupils was Giovanni Andrea de Magistris (father of Simone de Magistris), a 16th-century painter from Caldarola. Marchisiano in 1506 painted the frescoes of the Chapel of San Catervo in the Cathedral of Tolentino; these were once attributed to Francesco da Tolentino. He also painted a lunette (1518) for the church of San Nicola, now present in the Museo dell'Opera della Basilica, depicting a Deposition; this was once part of a larger altarpiece.
|
|
Prior to European colonisation of Australia and the encroachment of settlers into Wiradjuri lands, the Koonadan lunette dune served as a hunting and fishing ground for Wiradjuri people due to its location next to Tuckerbil Swamp. A bora ground was also located between the Koonadan dune and Tuckerbil Swamp, but evidence of it has been erased by changes in land use. In the late 19th century, many Wiradjuri were removed from the Koonadan area to Warangesda and Euabalong, not returning until the gradual closing of missions and Aboriginal reserves between the mid-1920s to 1950s, when many settled in Leeton and Narrandera. After the 1950s, the site was cleared of trees, and Tuckerbil Swamp was drained, which has greatly diminished the areas food resources.
|
|
Ravelin in Goes Ravelin in the Dutch Town 'Bergen op Zoom' Old Venetian Fortress with Ravelin at Corfu (47818446002) Ravelin protecting the entrance of Fort McHenry, Baltimore, Maryland The Moers fortifications, designed by Simon Stevin, where ravelins appear as triangular shapes surrounded by water, with wall (shown in dark green) facing outwards with no wall on the inner side. A ravelin is a triangular fortification or detached outwork, located in front of the innerworks of a fortress (the curtain walls and bastions). Originally called a demi-lune, after the lunette, the ravelin is placed outside a castle and opposite a fortification curtain. The outer edges of the ravelin are so configured that it divides an assault force, and guns in the ravelin can fire upon the attacking troops as they approach the curtain.
|
|
The two frescoes together Detail from Creation Creation and the Fall are a pair of 1420-1425 frescoes by Paolo Uccello, produced for the Chiostro Verde (Green Cloister) in Santa Maria Novella in Florence. As with the other frescoes in the cloister, it shows scenes from the Book of Genesis in monochrome, terra verde or "verdeterra" (giving the cloister its name), a pigment based on silica and iron oxide. The upper lunette shows Creation of the Animals and the Creation of Adam (244×478 cm) and the rectangular work below shows Creation of Eve and the Fall (244×278 cm). Both works have now been transferred to canvas and were restored in 2013-2014, after which it was considered moving them to an internal room within the complex.
|
|
The church is preceded by a small churchyard surrounded by a wrought iron gate onto which both the church and the rectory. The façade of the church of Christ the King is divided into two sections by a horizontal cornice in stucco: the lower is the portal, supported by two Corinthian columns and topped by a lunette mosaic depicting Christ Blessing; in the upper one, there are the window with round arch and cornice supported by two shelves decorated with a pattern hanging arches. To the left of the facade of the church, there is a bell tower with a belfry with three mullioned windows that opens to the outside. To the right of the church, however, is the rectory, on two floors, with four rectangular windows on the facade.
|
|
At that time there was a tradition of using "spoila", remnants of classical buildings, and it is likely that the structure used cut stone from the classical city which existed in the area of what is now called Piano San Leonardo. One of the church's main elements is the portal, with columns included in a blind protyrus, and examples of medieval decoration including lions, gryphons and a lunette with the Crucifixion; the portal is surmounted by a rose window in Gothic style sided by depictions of the Four Evangelists and the Agnus Dei. The Galuppi Tower (1312), across from the cathedral, has been strengthened by large square metallic plates. The tower, which was part of the old town's defenses, was the bell tower of a now abandoned convent.
|
|
The most noteworthy of the castle's interior rooms is the Knight's Hall, which dates from 1564. Dominated by a large Renaissance stone fireplace, it also features ceiling decorations depicting Livy’s interpretations of five Roman virtues, wall frescoes displaying military figures, and a lunette vault decorated with original stucco reliefs. Construction on Nelahozeves Castle began under the orders of Florian Griesbeck von Griesbach, a Tyrolean aristocrat and adviser to Emperor Ferdinand I, who commissioned the building from royal master builder Bonifaz Wolmut. The castle took more than sixty years to build and was completed at the beginning of the 17th century, more than a decade after Florian's death. However, financial difficulties forced the von Griesbach family to sell the castle to Polyxena, 1st Princess Lobkowicz (1566–1642), in 1623.
|
|
Michelangelo Cerquozzi is best known for painting small canvases depicting genre scenes and his lively Baroque battle scenes. Cerquozzi was recognised as a prominent still life painter, while his multi-faceted career also included religious and mythological compositions.Michelangelo Cerquozzi, called Michelangelo delle Battaglie (Rome 1602 - 1660), The Rehearsal, or A Scene from the Commedia dell'Arte at Galerie Canesso Cerquozzi executed only one public commission in Rome, a lunette depicting the Miracle of Saint Francis of Paolo in the cloister of the Church of Sant’Andrea delle Fratte, which has been lost. He is said to have painted altarpieces for several unidentified Sardinian churches.Alessandro Zuccari, Michelangelo Cerquozzi, nicknamed Michelangelo delle battaglie at Banca d'Italia Cerquozzi’s religious works are generally cabinet-sized pictures and feature, like his genre paintings, small, unidealized figures in naturalistic landscape settings.
|
|
The "Celestinian Forgiveness" (in Italian: Perdonanza Celestiniana) is widely viewed by church historians as the immediate ancestor of the Jubilee and Holy Year instituted only six years later by Pope Boniface VIII; and it is still celebrated at the church, thousands of pilgrims converging on L'Aquila for it every year. A Holy Door similar to the one in Rome was added to the church in the 14th century; a fresco in the lunette appropriately depicts the Virgin and Child, St. John the Baptist and St. Celestine. The church continued to be embellished during the Middle Ages, impetus being provided by the canonization of St. Celestine in 1313 and the translation of his relics in 1327. Interior view before the 2009 earthquake The dome of Santa Maria di Collemaggio collapsed in the 1461 L'Aquila earthquake.
|
|
The cycle begins in the lunette on the left wall, portraying the Espulsion of Joachim from the Temple and the Annunciation to Joachim. Below are the Meeting of Joachim and Anne and Anne at the Golden Gate, set in a fanciful Jerusalem with high tower, belfries and other edifices painted in pink. The water of a stream where several youths are drinking is a symbol of Mary as the source of life, while the sea is a hint to her attribute as Stella Maris ("Star of the Sea") and the islet a symbol of virginity. The stories continue in the middle part of the end wall, with the Nativity of the Virgin, following the same scheme of Pietro Lorenzetti's Nativity of the Virgin, with Jesus bathing, and the Presentation of the Virgin at the Temple.
|
|
The lowering of the raised entrance, the creation of a loggia(of which only the benches and corbels remain), and the vaulted rooms on the ground floor, all date from this period. The area around the clock on the façade date from 1575, while the statue of the "Madonna with Child" is from 1680 and was commissioned in Venice. To the side of the undecorated entrance are three standard measuring units: piede (foot), braccio (arm) and canna (cane): to these should be added the stub of a Roman column known as the "Cagliese quarter" now positioned just inside the main room on the ground floor. The fresco in the lunette on the back wall is of the Madonna with Child, St Michael Archangel and St Gerontius (1536) attributed to Giovanni Dionigi.
|
|
The construction also resulted in demands from the military to expand the fortifications substantially. To protect the existing fortress, the Ministry of War called for the construction of Fort Fusternberg on the land between the station and the Lippe (at a cost of 185,000 thalers). The ministry also required the construction of a tower fort with extended walls on the town side of Fort Fusternberg (135,000 thalers) that would defend the Lippe crossing if Fort Fusternberg fell. Lunette 23 would have to be raised because of the railway embankment (1500 thalers). In addition, the construction of a horse-hauled railway including protective works from the station to the port was required in order to bring operating materials to safety in the fortress in the event of war (28,500 thalers).
|
|
Desiderio took over the essential compositional scheme of an elevated triumphal arch containing a sarcophagus and effigy bier from the Bruni monument but transformed the sobriety of the earlier memorial into a work of heightened decorative fancy. In the Marsuppini tomb, Desiderio placed standing children holding heraldic shields on either side of the sarcophagus, draped long festoons from an ornate candelabra which surmounts lunette sarch, and positioned running youths above the pilasters which frame the funeral niche. In the niche itself he ignored the symbolism of the Trinity by using four instead of three panels as the backdrop for the sarcophagus. To increase the visibility of the deceased scholar and statesman, he tilted Marsuppini's effigy forward toward the viewer and carved elaborate floral decorations on the rounded corners of the lion-footed sarcophagus.
|
|
In each of the wings paired Corinthian plain-shafted pilasters flank an Ionic Venetian window, its arched middle light being of the same size as those in the central face, with a fan-shaped lunette of wide and narrow panels, the former ornamented and the latter plain. Restaurant incorporates semi-precious stones such as jade, mother of pearl, turquoise. The main entablature has an enriched architrave, a plain frieze except for the carved panels in the breaks above the Corinthian pilasters, and a dentilled and modillioned cornice which is returned to form large triangular pediments over the two wings. The high pedestal-parapet, its die enriched with ornamented panels, is a typically French feature, and so are the high pavilion roofs over the wings, with two tiers of dormers.
|
|
A good and brave sailor, he was also noted for his scientific researches, which won him a "lunette de mer" on 23 August 1777. On 9 March 1785, he gained permission to spend 3 months in England and the Netherlands to learn more about science. On his return to Brest in June 1785, Marchainville was immediately chosen to fill the supplementary role of enseigne prévue on board the l'Astrolabe and Langle, Marchainville's commander twice before, very probably asked for him to serve under him again. He and his brother Ange died on the La Pérouse expedition, and their father (the wealthy court banker Jean-Joseph de Laborde) erected a blue-turquoise marble rostral column beside a pool at his château de Méréville, decorated with 4 ships' bows, to glorify their virtues.
|
|
His earliest extant work is a processional banner for the Ospedale degli Innocenti, Florence, in which the Virgin is shown protecting the martyred innocents beneath her mantle. Commissioned in 1440 and completed in 1446, the picture was entirely repainted in the sixteenth century by Michele Tosini. In 1449-50 Domenico painted the chapel of Saint Leonard in the church of Santa Maria a Peretola in the outskirts of Florence. The chapel includes a lunette with a scene of Saint Leonard Freeing Prisoners as well as images of Saint Catherine of Alexandria, Saint Lucy and musical angels. In 1458 Domenico painted an altarpiece of the Madonna and Child with Saints, now at the Alte Pinakothek in Munich, and in 1463 he was commissioned an altarpiece by Cosimo de' Medici for the church of San Girolamo in Volterra (now at Volterra's Museo Diocesano).
|
|
Construction of this church began in 1234 and was completed in 1240; at the time, it was outside the city walls. The polychrome marble portal (1348) with its inlaid lintel and spiral columns is sculpted with animal and vegetal motifs. The lunette above has a much repainted fresco of the Madonna del Soccorso with Saints Francis and John the Baptist, attributed to Guido Palmerucci. The entire structure including the bell-tower are tall, as is typical for Gothic architecture. At one period, the choir displayed a polyptych (1465) by Niccolò Alunno; but that was looted by the Napoleonic forces and now is called the Polyptych of Cagli and housed in Milan at the Pinacoteca di Brera. An original altarpiece by Simone Cantarini was also looted, and now houses a Miracle of the Snow (1617) by Ernst van Schayck.
|
|
The stucco-faced structure is built on a perfectly square plan, raised on a high rusticated service basement with an Ionic portico, lifted well above the public towpath and facing the Canal. This primary façade of the villa is reminiscent of Andrea Palladio's Villa RotondaScamozzi was responsible for the completion of the Villa after Palladio's death, and designed the low central dome modelled on that of the Pantheon with a central oculus or the Villa Foscari (called "La Malcontenta"). The solid sides of the portico are pierced by grand arch-headed openings to provide additional cross- draft in summer heat. The villa's other façades are simply treated and harmoniously symmetrical, with central Serlian windows, surmounted by the rectangular lanterna formed by the high cubical central sala that rises through the center of the roof, lit by tripartite lunette windows on each face.
|
|
For the exterior, Hornbostel chose local yellow brick, augmented with colored terra cotta flourishes. The design incorporated four representational stained glass windows by William Willet. These valued remnants of the 1901 Temple, along with a large stained glass skylight in the dome and a lunette over the Fifth Avenue entrance, were fitting additions to a building housing a Congregation that valued tradition yet embraced a modern approach to Judaism and life. The Congregation subsequently installed a 1907 Kimball organ, the largest of its kind still in use. The Temple sanctuary holds more than 900 people on the first floor and 300 in the gallery. The building was finished in time for High Holy Day services in 1907 at a cost of $250,000. Rabbi Samuel H. Goldenson came to Rodef Shalom in 1918, a year after Rabbi Levy's untimely death.
|
|
The commission for Brockley County Secondary School (now the upper site of Prendergast School, Brockley) consisted of five arched panels, each measuring 12' x 7' (3.66m x 2.12m), plus a pediment-height panoramic frieze (8' x 39': 2.44m x 11.89m) together with a number of lunettes, spandrels and the three ceiling areas beneath the gallery. The two panels on the south side of the hall were painted by the RCA students Violet Martin and Mildred Eldridge. Mahoney painted two panels and part of the gallery ceiling, while Dunbar undertook the remaining north side panel, the frieze, a lunette, 22 of the 24 spandrels and four roundels on the central ceiling. Subjects for these smaller areas included Minerva and the Olive Tree, The Town Mouse and the Country Mouse, while the subject for Dunbar's panel was The Country Girl and the Pail of Milk.
|
|
In both cases the roof extends over an arcade in the Doric order at both the front and rear of the building; that of the courthouse has eight columns, while that of the town hall has six. The courthouse front has two large gable-roof dormers in the front, with paired double windows topped by a small lunette; a similar dormer appears on the rear. The triangular parcel on which the buildings stand was given to the town in 1833 by the Hebert family, with the proviso that the town hall be built there, and the county courthouse, should Ellsworth be chosen as Hancock County's county seat. The town hall was built in 1834; after the town was named county seat in 1837, it and the property were transferred to the county, which built the courthouse in 1838.
|
|
The polychrome St. Anthony of Padua, Infant Jesus, & angels was sculpted by Pierre Puget; on the vault is frescoed Pentecost, and in the lunette over the arch that accesses the far chapel is Doubting St. Thomas, a fresco by G.B. Carlone. The chapel to the right of the altar has a Blessed Andrea da Spello draws water from a stone, a canvas by G.B. Carlone; on the altar in the front, a Madonna sculpture by Leonardo Mirano (1618); to the right, Saint Domenico Soriano, altarpiece by Tommaso Clerici. On the left are three archangels by Clerici; on the cupola are frescoes by G.B. Carlone. On the main altar is a Crucifixion by Giacomo Antonio Ponsonelli; on the ceiling, Annunciation and Assumption, on the sidewalls, Presentation of Jesus in temple, all frescos by Giulio Benso; and Dispute with the doctors, painted from G.B. Carlone on design by Benso.
|
|
The composition and figure types are reminiscent of those found in Sano di Pietro's paintings while the draperies recall the work of Vecchietta and the St. Catherine type is derived from Domenico di Bartolo. Above this panel, in a lunette, is a Flagellation of Christ scene, which, with its violent action, twisted but anatomically correct bodies, and volumetric plasticity, shows a familiarity with the progressive Florentine draftsmanship of Pollaiuolo. Work from Matteo's middle period includes an altarpiece dated to 1477 for the oratory of Santa Maria delle Nevi in Siena; the altarpiece of Santa Barbara, dated to 1478-79 for Church of San Domenico, Siena; and what is considered Matteo di Giovanni's masterpiece, the Massacre of the Innocents, which is signed and dated 1482. During his mature period, Matteo began to paint idyllic and naturalistic landscape scenes employing delicate, lyrical colors derived from the Umbrian school of painting.
|
|
The limonaia Adjacent to the Villa are some buildings such as the chapel, (where the Pietà con i Santi Cosimo e Damiano, painted in 1560 Giorgio Vasari, waiting for restoration), housed on the ground floor of the south-east bastion; The Cucinone built at the beginning of the 17th century and the neoclassical cellar (or limonaia) "with anchored water retention", the work of Poccianti (1825). The Hall of the Pallacorda is a building at the corner of the garden, which dates back to the late eighteenth century to practice this game, and today houses the concierge and a store. In the middle of the sixteenth century, under Cosimo I, Niccolò Tribolo rearranged the gardens and finished the construction of the stables (1548). The overall view of the garden and the stables after the Tribolo's intervention is in the famous lunette of Giusto Utens (1599) kept in Florence Museum.
|
|
35—42 (1925) for St Brendan's Cathedral, Loughrea,McGreevy, Thomas. "St Brendan's Cathedral, Loughrea, 1897 – 1947", The Capuchin Annual, Dublin, 1946-1947. pp.353 – 373 County Galway; already by the mid 1920s this cathedral was well on its way to becoming a showcase for work by all but one (Wilhelmina Geddes) of the significant artists that worked at An Túr Gloine — and the Irish arts and crafts movement generally — and McGoldrick may well have recognised its potential as a premium venue to display his artistry. This window revels in warm colours and features little vignettes. Perhaps his most outstanding window, and one of the most unusual commissions to come to the studio, was a massive lunette, The Spirit of Morning (1926—27), for a private home in Singapore, which following many years in storage is now on public display in the Penang Colonial Museum, Malaysia.
|
|
Colonel Valery Sulakowski, chief engineer of the Confederate engineering department in Texas, ordered his subordinate, Major Julius G. Kellersberger, to begin the construction of a series of redoubts, redans, and lunettes on the mile of open saltgrass prairie between Knight's Lake and the Gulf of Mexico. Fort Manhassett consisted of two redoubts, two redans, and one lunette. Redoubt A, Redoubt B, and Redoubt C were built on a straight line, running north to south, between the beach road and the southern shore of the lake. The three redoubts were built to contain a possible enemy advance from the west, and mounted several heavy cannon for that purpose. The two redans in the rear, labelled Flank Defenses I and II on Kellersberg's 1863 map of the Sabine defenses, were intended to serve as a second line of defense in the event of the advance works falling to an attacking enemy.
|
|
Crucifixion by Giovanni Angelo D'Antonio The brick church was erected in the 13th century; the bell-tower, rising near the apse, dates from the 14th century. The façade has two mullioned windows and a sculpted stone portal, with a bas-relief in the lunette depicting the Assumption of the Madonna. The interior houses painting depicting a Madonna and Child with Saints by Antonio and Giangentile di Lorenzo, a 15th-century Madonna and Child with Angels by Lorenzo D’Alessandro (father of Antonio and Giangentile), and a Holy Trinity (1530) painted by Paolo Bontulli from Percanestro di Serravalle. It also houses a wooden processional standard depicting the Annunciation and Crucifixion by Giovanni Angelo d'Antonio and a Madonna della Misericordia (1494) by Pietro Alemanno, as well as panels from a polyptych depicting Saints by Niccolò Alunno and 15th-century wooden statues for a presepio or nativity scene by unknown Tyrolese artisans.
|
|
The location of the scaffolding is evident on this lunette Michelangelo probably began working on the plans and cartoons for the design from April 1508. The preparatory work on the ceiling was complete in late July the same year and on 4 February 1510 Francesco Albertini recorded Michelangelo had "decorated the upper, arched part with very beautiful pictures and gold". The main design was largely finished in August 1510, as Michelangelo's texts suggest. From September 1510 until February, June, or September 1511 Michelangelo did no work on the ceiling on account of a dispute over payments for work done; in August 1510 the Pope left Rome for the Papal States' campaign to reconquer Bologna and despite two visits there by Michelangelo resolution only came months after the Pope's return to Rome in June 1511. On 14 August 1511, Pope Julius held a papal mass in the Chapel and saw the progress of the work so far for the first time.
|
|
The ceiling panels over the centre aisle depict: the wise men and the shepherds; Christ feeding the multitude and stilling the storm; Christ healing the blind and lepers; the crucifixion (dome); and the entry into Jerusalem with Christ carrying the cross (chancel). The memorials on the north wall are to John Raphael, a popular sportsman killed in the First World War; to Father Maxwell Rennie, a bust by his daughter Rosemary Proctor; and, in the lunette above St George's altar, a painting by Starmer represents the last few moments in the life of Michael Rennie, the Vicar's son, who died of exhaustion after rescuing several evacuee children after their ship, the City of Benares, had been torpedoed on its way to Canada in 1940. The murals here and in the south aisle represent the teaching of Jesus in the parables of the kingdom. The Stations of the Cross, also by Starmer, begin here and continue into the south aisle.
|
|
Sacrifice of Laocoön by Filippino Lippi Vertumnus and Pomona by Pontormo The most ancient fresco of the villa, belonging to the period of Lorenzo the Magnificent, is the so-called Sacrifice of Laocoön (according to Halm's interpretation) by Filippino Lippi, kept under the loggia at the first floor, once detached for restoration and now relocated, though it is rather faded by weather. The fresco is quoted by Vasari as "A sacrifice, fresh, in a loggia that remained imperfect" and which would go back to before Lorenzo's death, or in any case completed by 1494. The dominant theme of the first constructive phase Was the interpretation of the ancient in modern and decorative style and this fresco testifies to The kernel, as well as the frieze of the tympanum, maybe of Andrea Sansovino and the first decorated lunette in the salon of Leo X, that of Pontormo. Between 1519 and 1521, Depicts the Roman deities of Vertumnus and Pomona embedded in an unusual classical landscape.
|
|
Essilor manages a collection of patents and objects related to its history and collaborates with several optics-related institutions. It offered the Essilor–Pierre Marly collection (one of the world's largest optical instrument and eyewear collections, consisting of about 2,500 items collected by Marly, a celebrity optician who operated in the second half of the 20th century) to the Musée de la lunette de Morez. The collection includes medieval spectacles, bourgeois lorgnettes, walking sticks with optical systems, French actress Sarah Bernhardt's lorgnettes, the daughter of Louis XV's [Victoire de France] glasses, and the iconic white plastic Courrèges Slit (a futuristic pair of sunglasses modelled upon a 2000-year old Arctic Inuit design, utilising carved slivers of whalebone, slit horizontally, to provide anti-glare eye protection). In 2008, Essilor signed a partnership with Le CNAM/PATSTEC to join the Mission nationale de sauvegarde du patrimoine scientifique et technique contemporain (National Mission for the Safeguarding of Contemporary Scientific and Technological Heritage).
|
|
The Box Gully archaeological site is an Aboriginal archaeological site on the shore of saline Lake Tyrrell, in the Mallee region of northern Victoria, Australia.Stone tool backdates evidence of human occupation, Landline, ABC Radio, Reporter: Tim Lee 12/08/2007 The site consists of the remains of a small hunting camp, which has produced radiocarbon dates of between 26,600 and 32,000 years BP, making Box Gully one of the earliest known occupied sites of the region and the first documentation of pre-30,000 calBP Aboriginal occupation of the extensive area between the Murray River and the Tasmanian highlands. Located on the north western tip of the Lake Tyrrell lunette along an eroded water channel, the site has revealed hearth features, stone chipping debris, and butchered faunal remains of a variety of animals, including bettong, hare-wallaby, shingle-backed lizard, emu, and freshwater mussel. The site was probably a short term, late autumn-winter camp site, occupied seasonally over multiple occupations.
|
|
Our knowledge of Ghetti's career rests chiefly on a brief notice by Vasari, a few mentions in documents, and half a dozen jewel-like, painstakingly finished paintings. Vasari briefly mentions Ghetti, whom he calls "Baccio Gotti" in the Lives, describing him as a pupil of Ghirlandaio and stating that he worked in France at the court of King Francois I. Until 2003, no works by Ghetti were known; on that year documents were published by Louis Alexander Waldman showing the artist had painted and restored a number of works for the church of San Pietro a Selva, near Malmantile, a neighborhood of Lastra a Signa in the lower Arno valley. The only sixteenth-century painting in the church is a frescoed lunette depicting the Madonna and Child. Waldman (2003) identified this painting as a work of a follower of Ridolfo Ghirlandaio, called the Master of the Copenhagen Charity (the name came from his most beautiful work, an allegory of Charity now in the Statens Museum for Kunst, Copenhagen).
|
|
The oldest wings of the palazzo nuovo maggiore, whose porticos are now walled up, give onto the west and south sides of the large southern courtyard, which has a fountain in the center. There are fine capitals in the style of Antelami on the mullioned windows on the first floor, above all, those of the four-mullioned window on the left, which has a round lobate window in the lunette, with twelve figures representing the months of the year. Another thing to notice is the reconstruction of the ancient wooden staircase, which in medieval times led to the great hall of the Maggior Consiglio (the organ of government) on the first floor. The palazzo nuovo minore is on the east side of the courtyard and bears this name because it was finished later (1232) than the first building on the west side. During the first 20 years of the 15th century a loggia was added by the Malatestas with four elegant slightly pointed arches and ribbed cross-vaults.
|
|
Giorgio da Sebenico was born from the Roman noble family of Orsini in the Dalmatian city of Zara (now Zadar, Croatia), which was part of the Republic of Venice (see Venetian Dalmatia).Kokole He emigrated to Venice during his youth, where he was probably trained as a sculptor in the workshop of Giovanni and Bartolomeo Bon,Kokole, Schultz or at least worked with them as an independent associate.Schultz, 83 He would not have been awarded the great responsibility of the 1441 Šibenik contract without having experience of major works, and various attributions of surviving sculptures in Venice to him, as part of the Bon workshop, have been made,Schultz, 77-79 including the decorations on the Porta della Carta of the Doge's Palace. Anne Markham Schultz dismisses all previous suggestions as stylistically incompatible, but instead proposes the relief of Saint Mark enthroned among members of the Confraternity of Saint Mark in the lunette above the main entrance to the Scuola di San Marco, which she dates to 1437-1438 and finds close in style to Giorgio's later works at Šibenik and elsewhere.
|
|
The work was commissioned in the 1520s when the villa was being totally redecorated and redesigned. The earliest surviving frescoes in the villa such as the lunette Vertumnus and Pomono by Pontormo, elegiacally evoke rural like, but the building's main theme instead became the glorification of the Medici family after it acquired the titles of Giuliano de' Medici, Duke of Nemours and Lorenzo de' Medici, Duke of Urbino in 1520. Andrea del Sarto's work shows a laurel-wreathed Julius Caesar receiving ambassadors, with Caesar as a symbol or 'stand-in' for Lorenzo de' Medici. The animals brought by the ambassadors include (left background) the famous Medici giraffe, given to the family in 1487, possibly by Qaitbay, Sultan of Egypt Litta Medri, Paolo Mazzoni, Massimo De Vico Fallani, La Villa di Poggio a Caiano, Lo Studiolo Cooperativa, 1986, p 10.. The work was originally in a trompe l'oeil loggia enclosed with columns, but by 1575 this scheme had begun to look limiting and other scenes had been added to most of the walls.
|
|
Vertumnus, either a demigod of seasons or a satyr, becomes taken with the nymph's beauty, but she ignores and rebuffs all his advances to enter her realm and remains a maiden. The mutable Vertumnus gains access to the orchard disguised or transformed into an old woman (depicted as an old man with a basket, however, in this fresco). Once inside, the myth relates that the disguised Vertumnus convinces Pomona, by means of allusive stories, to "carpe diem" and choose the handsome youth Vertumnus, who finally reveals his true form. One interpretation of this fresco is that the allegory delicately counterposes the turns in the myth using a mirror fashion in each hemi-lunette by depicting a contrast of the elder-faced Vertumnus with the rapt Pomona, the youth with a basket and a turning maiden, and finally, the naked man aloft on the fence picking fruit from the same tree from which, at a distance, the maiden trims a branch while clothed in a red dress that suggests arousal.
|
|