With modern technology, it is easier to re-create ancient polychrome sculpture.
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Because it's not Western, it's perfectly O.K. for it to be polychrome.
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Some shapes resemble polychrome clouds; others, sheets of marbled sugar glass, freshly cracked.
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Others were lent, including "Play-Doh," Mr. Koons's massive multicolored sculpture of polychrome aluminum.
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The fireplace was originally painted in vivid polychrome, with red and gold on the licking flames.
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The painted surface is sprayed or spattered, as if it had been caught in polychrome rain.
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Google offers 1,300 or so polychrome bikes as part of its effort to shrink employees' carbon footprints.
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One of the most popular polychrome marbles was pavonazzo, a white marble with purplish-red veins running through it.
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Historically, her small, painted polychrome terracotta sculptures would have been used for private devotion in homes or private chapels.
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Bhabha's show is a triumphant coda to "Like Life," the museum's deep dive into polychrome sculpture at the Met Breuer.
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Bites Santo Palato, in the San Giovanni neighborhood, stands out in a way that goes beyond its bright, polychrome décor.
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Mr. Koons's sculpture, made of polychrome bronze, stainless steel and aluminum, depicts a hand holding a bunch of multicolor flowers.
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The larger of the pair also features four wide-eyed, polychrome animals: an owl, a duck, an eagle, and a fawn.
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It overflows with other treasures: copies of ancient Egyptian, Greek and Roman busts; medieval figurines; Renaissance nudes; antique polychrome Chinese horses.
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On occasion, her style can be a little exhausting, with her bursts of Pete Wells-ian polychrome, but one can excuse her.
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It is unclear if the paint Menéndez applied to the figures could be removed, or if the original polychrome paint can be recovered.
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De Vincenzo, a diaphanous organza dress shimmering behind him, looked out from a box seat towards the polychrome orchestra of a thousand illusory chairs.
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The polychrome wooden sculpture of the archangel Saint Michael fragmented after the man, a Brazilian tourist, tripped and backed into the gallery's tall centerpiece.
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Many of these places offer filling but unremarkable fare — making newcomer Santo Palato stand out in a way that goes beyond its bright, polychrome décor.
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The result is a body of polychrome sculptures that doesn't reference earlier art or seem to rely upon a particular process, such as pouring or casting.
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As a boy, he admitted having difficulty reconciling his mother's artistic persona — her look often included large sunglasses and a polychrome turban — with what seemed cool.
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His own MSGM brand thrives on polychrome prints, and he finds an easy consonance with Pucci's long-established codes of brilliantly colored patterns and Italian glamour.
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Think of the iconic power of Byzantine mosaics, or the Gothic stained-glass and polychrome statuary that was offered as a vision of the heavenly Jerusalem.
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"Polychrome sculpture was the dominant form of religious sculpture in Spain and Latin America from the 16th century in to the 19th century," Codding told Hyperallergic.
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A number of his black-and-white images from 1950 cover one wall, accompanied by a single polychrome figure of a girl wearing a night coat.
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Large, decorative friezes of polychrome glazed bricks, some of them molded into bas-reliefs, line the walls, pieced together like giant puzzles from thousands of fragments.
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Bertoldo's surviving work is limited to six bronze statuettes, five bronze reliefs, six medals, one polychrome statue, one terracotta frieze, and a series of stucco reliefs.
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This week, workers finished installing glass sculptures by Dale Chihuly; red translucent spears, rippled purple windowpanes and swirled polychrome spheres are emerging from pools and waterfalls.
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The "Fearsome Authority" room posts an eighteenth-century polychrome lacquered throne from the Quianlong period, while behind it a giant dragon is painted on the walls.
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The chassis frame showed up from the US in the early 1900s, and horse-drawn modes of transport were swapped for the rickety-looking, polychrome-painted buses.
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They're known for their polychrome blooms, as well as for the "really painful" stinging hairs on their stems, says Tilo Henning, one of the study's lead authors.
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Just a few months ago, classicist Lisa Trentin published a coloring book for adults to learn about polychrome sculpture called Classical Sculpture in Color: An Adult Colouring Book.
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He has much in common with his neighbor, Alonso Berruguete's 16th-century polychrome-wood martyr, "Saint Sebastian" — except his snail-shell curls are those of a Greek god.
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Each track plays out like a shadowy romance, with standouts such as "Polychrome" and "What Reason Do We Need" inviting the listener in only to evaporate like a dream.
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The museum has been acquiring polychrome sculpture since its founding in 1904 by Archer M. Huntington, and it now boasts one of the most impressive collections of such works.
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Inside, he would see painters — some of them recruited off the street and paid minimum wage — churning out art in the Max aesthetic: cheery, polychrome, wide-brushstroke kaleidoscopes on canvas.
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"Te Rerioa" ("The Dream"), one of the finest of Gauguin's later Tahitian pictures, appears through a cutout wall behind a polychrome cabinet that employed similar colored passages a decade earlier.
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She draws our attention to the "polychrome" mosaic of the Near East and the polyphony of the great Greek-speaking Roman city that lay at its heart, and rightly so.
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There have been many pottery methods over the centuries, including polished black Kapo pottery, ogapage polychrome, and black pots colored using cow or horse dung in the firing of the clay.
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Kept in a private French collection for decades, the rare, polychrome wood objects are now on view at New York's Hispanic Society, which acquired them at this year's Spring Masters fair.
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" A later 1815 sampler by Mary Livermore presents both her faith and needle skill, with verses stitched in polychrome silks between a floral border: "Show me the path the sainted virgins trod.
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This small statuette is one of many in which Roman sculptors not only carved non-Roman clothing but selected colored polychrome marbles in order to accentuate the difference between Romans and non-Romans.
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For this, he painted plywood sheets with polychrome sand in Persian rug designs and then splintered the boards, creating a visual cyclone "I completely bastardized and abstracted" the carpet motif, the artist said.
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We had stayed a few years earlier in a rented cave in Purullena, which is also known for its cobalt blue ceramics made with a special polychrome technique that dates to the 16th century.
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An exciting — and vulnerable — inclusion is the Iranian-born artist Reza Aramesh, who uses the polychrome technique (linden wood included) to depict a Palestinian youth stripped down to his underwear at an Israeli checkpoint.
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The ornately gilded interior of the church features a ceiling decorated with bright polychrome figures, including a lively representation of Santo Domingo's family tree that evokes pre-Columbian images of the Tree of Life.
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It is a city of 530,20103 people — in a metropolitan area of 2.5 million — many of them now wondering whether the city really is the exotic, polyglot, polychrome place they believe it to be.
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According to the Royal Collection Trust, the piano's surface was "painted by François Rochard in polychrome colors with singeries and Berainesque motifs" with the "moldings and rim of the piano are bronze, chased and gilt."
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There's an ancient librarian with a wooden leg, whose shelves contain not books but strange, useful treasures; a crabby little elf-man out to stir up trouble; and a boy who specializes in growing polychrome mushrooms.
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Some 60 percent of the objects are making a public debut for the first time in Spain, including two vivid polychrome wood busts of Saint Martha and Mary Magdalene and an intricate Mexican map from 1584.
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Seized when French colonial forces ransacked the capital of the 300-year-old Kingdom of Dahomey, they were royal treasures that the fleeing king left behind: statues, thrones, and even the carved polychrome doors of his palace.
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Balotelli returned, then, not only to a city that had always been happy to call him "one of our own," as one staff member at the Oratorio said, but one that had grown comfortable in its polychrome skin.
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The walled old city is anchored at one end by the red sandstone and white marble bulbs of the huge Badshahi mosque, and fixed at the centre by the polychrome mosque (pictured) of the great Mughal vizier, the Wazir Khan.
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In particular, the archaeologist Vinzenz Brinkmann, whose research informed Gods in Color, has done important work, applying various technologies and ultraviolet light to antique statues in order to analyze the minute vestiges of paint on them and then recreate polychrome versions.
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It is a polychrome plaster that supersedes the political histories of the two men and attests to the timelessness — not of classicism — but of the palpable sense of form that Marini found in the fecund roundedness of the Venus of Willendorf.
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Yackulic's pieces are the only explicitly sculptural objects in the show, but Christian Maychack's "Compound Flat #46" (2015) lies somewhere between a polychrome relief and a deconstructed painting, with colorful, irregularly shaped swathes of epoxy clay attached to laminated slats of wood.
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The sculptural constellations of Sarah Sze, the strange magic of Rachel Harrison's polychrome aggregates, and the performing sculpture of Darren Bader, in the form of live goats or live cats, are just a few of the recent branches on his family tree.
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Read more: At least 17 people have been killed by extreme mudslides in California — here's why the situation has gotten so deadly"The main area they're focusing on is Polychrome Pass," Paul Ollig, acting public information officer, told the Fairbanks Daily News-Miner.
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He had penny-spaced shiplap installed over the drywall above the mantel, and hung a carved wood-and-polychrome eagle ($1,000) that he found at a local antiques store to create a focal point, framed by a pair of Thomas O'Brien sconces from Visual Comfort ($350).
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More conceptually ambitious than it may at first appear, Macdonald's project operates within multiple frames of reference: as polychrome sculpture, as installation, as a product of serial production and, possibly, as commentary on the nature of creative endeavor and the art object itself in contemporary American culture.
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President Andrzej Duda of Poland, for instance, gave Mr. Trump a burgundy album containing 10 photographs titled, "President Donald J. Trump in New York," a collection that included black-and-white photographs of Mr. Trump in his real estate developer days, as well as polychrome photographs of Trump Tower in Manhattan.
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At the Davis Museum, it now hangs in a bright red room, in conversation with a small Spanish Baroque devotional painting; 18th- and 19th-century ivory fragments from what were once statues of saints; and a circa 1750 polychrome sculpture of Saint Teresa of Ávila that features a separately carved heart.
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The era's religious faith is especially palpable in two carved softwood sculptures from the 14th century whose colors and gilding remain nearly intact: a pale, life-size Spanish crucifix that is both daunting and slightly comic and a polychrome wood Pietà with anguished expressions and with gaping wounds whose red matches that of the Virgin's robes.
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For him Odysseus is not a real hero because he lies and cheats on his wife, tells false, self-inflating stories, is always relying on the gods to get him out of trouble, is not really all-man in the way of more singular, self-sufficient heroes, but is always shifting into difference, like the shimmering polychrome cloths with which the Homeric world was entranced.
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Salado pottery from Tonto National Monument. Left, Tonto Polychrome. Right, Gila Polychrome. Gila Polychrome Bowl Roosevelt Red Ware, also known as Salado Red Ware and Salado Polychrome, is a late prehistoric pottery tradition found across large portions of Arizona and New Mexico.
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Lines are cut into the lip of the jar, and triangles are the most common motif, either interlocking or meeting tip to tip. Other ceramic types found on the island include: Granada Polychrome from the Middle Polychrome Period, Castillo Late Polychrome, and Luna Ware Polychrome (Healy, 1980).
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By her standards, the bowl sherd with a C rim shown here is Hidden Mountain Polychrome, not Pottery Mound Polychrome.
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The Polychrome Glaciers are five glaciers in the Alaska Range of Denali National Park and Preserve in the U.S. state of Alaska. The glaciers originate in parallel glaciated north-trending valleys in the Alaska Range, opposite Polychrome Mountain across Polychrome Pass.
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Los Muertos Polchrome has a long and storied history of recognition without formal description. Neuzil and Lyons (2005) note that archaeologists have noted this type as a variation of Gila Polychrome since 1927. Names under which this type has been known include Gila Polychrome with four colors, Las Colinas Polychrome, Perry Mesa Polychrome, Gila style with red, and Gila Polychrome; Trichrome Variety. This type is identified by red paint used in conjunction with black paint in white design fields.
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Kaisariani Monastery, polychrome fresco on ceiling of church. Kaisariani Monastery, fresco on ceiling of church. Kaisariani Monastery, polychrome fresco on ceiling of church.
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Nine Mile Polychrome is similar to Cliff Polychrome in that it only occurs in bowls with a recurved rim with a black-on-white band of design on the bowl interior just below the rim, the area above the banding line on Cliff Polychrome. Unlike Cliff Polychrome however, the rest of the interior of this type is red slipped without any additional elaboration, including lack of a banding line. Generally Nine Mile Polychrome vessels have either a Gila or Tonto Polychrome exterior decoration. This type is found in the region from the Cliff Valley to Perry Mesa, and from the Middle Verde Valley to the area around Douglas, Arizona.
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Pinto Polychrome is the earliest of the Roosevelt Red Wares and dates from AD 1280 to 1330. Pinto Polychrome vessels are only found in the form of bowls and lack the banding line, also called a "life-line" by some authors, that identify Gila Polychrome. Stylistically Pinto Polychrome is reminiscent of St Johns Polychrome in its layout of opposed hatched and solid elements, although the type exhibits a period of experimentation with colors and layouts that continue through subsequent types. Pinto polychrome is found along the Mogollon Rim in Arizona as well as the Tonto Basin, Sierra Ancha, Globe Highlands, San Pedro Valley, Point of Pines Area, Kinishba Area and the Upper Gila Valley (Neuzil and Lyons 2005: 34).
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There is a transitional variant that has been noted by some authors known as Pinto-Gila Polychrome. This type exhibits the more bold designs generally found in Gila Polychrome but lacks the banding line and is still only found in bowls. Some authors have chosen not to use this type arguing that types tend to blur in transitional periods between types and that adding types adds no additional analytical usefulness. Pinto Polychrome is also contains a Salmon Variety (see Gila Polychrome).
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Although La Baie does not have any mines, granitic rock is extracted in Grenville Province, particularly Laurentian granite and gneiss. These quarries contain polychrome,Polychrome. Ministère des ressources naturelles. 2012. Retrieved 2013-01-29.
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2008 Sections of the polychrome stencilled ceilings in the auditorium remain.
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Tonto Polychrome jar (olla), Tonto National Monument Gila Polychrome is the first type in this series to be found in both bowls and jars. Stylistically Gila Polychrome is identified by bolder motifs than Pinto Polychrome and bowls are most readily identified by the banding line just below the interior rim. Jars have broad stripes of white slip with black designs, although the bases are usually still slipped red. Sometimes jars exhibit multiple parallel bands of black on white decoration separated by thin bands of red slip.
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Henderson et al. 1979: Radiocarbon dating of seven sherds from the excavation site provided the basis for the periods. The white-slipped polychrome pottery of the Terminal Classic period at Los Naranjos is "Las Vegas" polychrome, similar to types of "Las Vegas" polychrome at Comayagua. It is in close stylistic relation to sherds from Rivas Papagayo but earlier in date.
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Artisans in the Petrified Forest created sophisticated Glaze- on-Red polychrome pottery.
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This is an alphabetical list of French Ateliers producing Stained polychrome Glass.
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Los Padillas Polychrome bowl Arenal Glaze Polychrome and Los Padillas Polychrome feature red-slipped bowls with simple interior designs painted in black glaze paint; the former has crushed rock temper while the latter has crushed sherd temper. The bowl exteriors include simple designs in white matte paint. The overall layout (black-on-red interiors, white-on-red exteriors) is a carryover from White Mountain Red Ware. Arenal dates from AD 1315 to 1350(?) and is found from Albuquerque south--the same area of its supposed ancestor, Los Padillas Polychrome.
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Escondida Polychrome Jar In their exhaustive study of Casas Grandes, DiPeso, Rinaldo and Fenner (1974), the type Escondida Polychrome was formally named. While not officially a Roosevelt Red Ware, this type exhibits hallmark traits of these types. Escondida Polychrome is produced with locally available clay, a buff firing clay used for types such as Ramos Polychrome, and has black and red designs with many motifs being similar to those found on Roosevelt Red Wares. This type does lack the white slip found on Roosevelt Red Ware, and designs show influence from Chihuahuan types.
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In this type, the interior and exterior of each bowl is slipped in a different color. (In jars, the uppermost and most easily reached part of the interior is slipped a different color.) The black glaze paint design applied over the slip often includes dots and serrated lines. San Clemente Polychrome occurs from Albuquerque south. Honea (1966) has described a variant on San Clemente Glaze Polychrome, Sanchez Glaze Polychrome.
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Continuing their journey, they arrive in the Land of the Lost. Reuniting with Nox, they meet a man named Bright. Bright takes the group to Polychrome at The Rainbow Falls. Polychrome offers to fix Ozma, but reveals that the process will kill Pete.
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The interior of the church is decorated in polychrome brick, in red, yellow and black. It is floored with polychrome encaustic tiles. The font is octagonal, with coloured encaustic tiled panels. There is 19th-century stained glass in the south and east windows.
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The apse also has a 13th-century carved polychrome wooden crucifix.Tourism Promotion Agency of Basilicata.
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Between the north and south grottos are two large polychrome murals, over the cave entrance.
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Inside the hermitage is a 14th-century polychrome carving titled El Santo Cristo de Miranda.
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Cliff Polychrome Bowl Cliff Polychrome is identified by stylistic and morphological characteristics that distinguish it from Gila Polychrome. Dates given for this type range from AD 1300-1450 (Lyons 2004). This type is found in bowl form and can be partially identified by recurved and semi-flaring rims. Accompanying the shift in bowl shape is a drop in the banding line, creating a secondary design field between the banding line and the rim.
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As of 2007, Font-de-Gaume was the only site in France with polychrome cave paintings that is still open to the public. To date, 230 figures have been recorded in the cave, and it is thought that more are still to be revealed. Font-de-Gaume holds over 200 polychrome paintings. These engravings are considered the best examples of polychrome painting other than Lascaux, which is now closed to the public.
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Gila Polychrome, Salmon Variety, replaces the usual white slip with a pinkish slip but otherwise remains stylistically similar (Neuzil and Lyons 2005: 21-22). Gila Polychrome is produced from about AD 1300-1450 across Arizona, New Mexico and northern Mexico, north of Casas Grandes, Chihuahua.
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Portions of the pueblito, hogans, and trash area have been excavated. Dinetah Gray and Gobernador Polychrome ceramic sherds were recovered during the excavations. One sherd of Puname Polychrome from the Keresan pueblos was also found. No European trade goods were found during the excavation.
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Stanisław Samostrzelnik died in Mogiła Abbey in 1541. Crucifixion (polychrome, 1530-1541), Cistercian Abbey in Mogiła.
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Polychrome Victorian-era architectural detail in Kendallville, Indiana. Polychrome building facades later rose in popularity as a way of highlighting certain trim features in Victorian and Queen Anne architecture in the United States. The rise of the modern paint industry following the American Civil War also helped to fuel the (sometimes extravagant) use of multiple colors. Early 20th Century polychrome pediment, Philadelphia Museum of Art (1928) The polychrome facade style faded with the rise of the 20th century's revival movements, which stressed classical colors applied in restrained fashion and, more importantly, with the birth of modernism, which advocated clean, unornamented facades rendered in white stucco or paint.
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Pottery Mound Glaze Polychrome Jar Sherd Pottery Mound Polychrome is considered a variant of San Clemente Glaze Polychrome, in the sense that the San Clemente slip scheme (different slip color on interiors and exteriors) is combined with the canon of red matte paint outlined in black glaze paint. In some of the most boldly executed examples of this type, however red matte paint designs are sometimes not framed in black. The background colors used in contrasting pairs include red (grading to orange), yellow (grading to olive), and white (probably using slip clay from the Acoma area, in imitation of Acoma-Zuni wares). Pottery Mound Polychrome dates from AD 1400 to 1490.
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Marble polychrome monument circa 1600 with Northern Mannerist style figurines. The Layer monument is an early 17th-century polychrome marble mural monument (320 × 350 cm) erected in the memory of the lawyer Christopher Layer (1531–1600), and located in the Church of Saint John the Baptist, Norwich.
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The whole building is decorated with fine wood carvings, polychrome plaster mouldings, and murals of auspicious motifs.
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Burials were found and excavated at the site, yielded ceramic offering vessels in a distinctive polychrome style.
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University of Pennsylvania Press. Imported glass objects first reached China during the late Spring and Autumn period (early 5th century BC), in the form of polychrome eye beads.Braghin, C. (2002) "Polychrome and monochrome glass of the Warring States and Han periods" p. 6 in Braghin, C. (ed) Chinese Glass.
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The use of red-and-black painted designs apparently began on vessels with yellow slips, but as time went on other slip colors were used. The probable first type in this tradition was Cieneguilla Glaze Polychrome, which differs from Cieneguilla Black-on-yellow by the addition of red (matte) paint elements outlined in black (glaze) paint. Cieneguilla Polychrome dates from AD 1325 to 1425. When B rims rather than A rims are present, this type becomes Largo Glaze Polychrome (AD 1400 to 1450).
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Recent studies have argued that the preference between polychrome and monochrome has to do with the price of materials and or the availability.This leads to more monochrome wares being produced over polychrome. Early Islamic lustreware ceramics were predominately produced in lower Mesopotamia during the ninth and tenth centuries. In the Great Mosque of Kairouan, Tunisia, the upper part of the mihrab is adorned with polychrome and monochrome lustreware tiles; dating from 862 to 863, these tiles were most probably imported from Mesopotamia.
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These works used bright, polychrome glazes, a feature of his work that would remain constant throughout his career.
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Similar in dates, designs, and geographic distribution to Pinto Polychrome but without the white slip underlying black paint.
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Similar in dates, designs and geographic distribution to Gila Polychrome but without the white slip underlying black paint.
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The main altar (1764-1770) was completed in polychrome marble by Giovanni Bonessi.Marche Beni Culturali, entry on church.
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Estrada- Belli pp. 44, 103–04. The Maya had a long tradition of mural painting; rich polychrome murals have been excavated at San Bartolo, dating to between 300 and 200 BC.Saturno, Stuart and Beltrán 2006, 1281–82. Walls were coated with plaster, and polychrome designs were painted onto the smooth finish.
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When F rims are present, the type becomes Kotyiti Glaze Polychrome (AD 1625 to 1700), however, the same type name is applied to F rim examples in the San Lazaro (two slip) tradition. Kotyiti Glaze Polychrome is characterized by slapdash designs and by the use of runny glaze black paint.
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Tonto Polychrome is found in higher frequencies on jars. The black on white designs are generally narrower bands than on Gila jars, or panels of decoration, and are surrounded by red slip. This type has a later starting date than Gila Polychrome, AD 1340 and an end date of 1450.
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His varied projects included book illustrations, murals, stained-glass windows, mosaics, polychrome ceramic sculptures, and set and costume designs.
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This chapel is dedicated to the Eucharist, and has a polychrome marble altar 1729 by Andrea Fantoni.Lombardia Beni Culturali.
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The altar has polychrome marble decoration from 18th-century and a tabernacle with a Madonna Addolorata.Campania Tourism website, entry.
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Karinhegane is an archaeological site in the northern Sanaag region of Somaliland. It contains some unique polychrome rock art.
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It was built by M.E. Dode, who successfully adapted local materials (including polychrome slate for the roof) to the design.
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When C rims are present, the type becomes Espinoso Glaze Polychrome (AD 1425 to 1500). By Espinoso, the slip tends to be off-white rather than yellow, causing the designs to appear more "gaudy." This background color may be in imitation of contemporary Acoma-Zuni wares. Espinoso Glaze Polychrome is most common north of Albuquerque.
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The church remains in its original structure, with a unique polychrome interior from around 1500, making it the oldest existing polychrome made from wood in Europe. The church is considered to be one of the oldest structures of its type in Poland, speculated to be second after the St. Michael Archangel's Church's tower in Binarowa.
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Polychrome Mountain is a prominent 5,900+ ft (1,798+ m) elevation summit located in Denali National Park and Preserve, in the Alaska Range, in the U.S. state of Alaska. It is a landmark in the Toklat River valley visible to tourists as the park road traverses the southern slope of the mountain. Polychrome Mountain is situated one mile north of Polychrome Pass, and northeast of Divide Mountain. Although modest in elevation, relief is significant since the peak rises nearly above the surrounding valley floor in less than two miles.
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Bransford (1881) found Sacasa Striated accompanied by earthenware Luna Polychrome, indicating the contemporaneity of both types (Garcia in Lange, 1996: 117).
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Their sixth release, a full-length album titled Polychrome, was announced on 1 November 2018 and released on 7 December 2018.
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Polychrome small-scale model of the archer XI of the west pediment of the Temple of Aphaea, c. 505–500 BCE.
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Much polychrome interplay (brick/stone) and various ornaments (cabochons, diamonds, masks) evoke luxury, surprise and abundance, themes peculiar to mannerist architecture.
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The tower has a height of 67 meters. A polychrome wooden altarpiece of the sixteenth century shows the coronation of the Virgin.
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His uniquely designed polychrome houses were outstanding among prefabricated houses in the country, appreciated for their Art Deco ornament and superb craftsmanship.
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Some of the clergy stalls in the rear have elaborate carvings. Behind them is a polychrome reredos, its niches filled with sculptures.
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The polychrome marble decoration was applied by Giuliano da Sangallo (c. 1503). The stained-glass window and dates from the 20th century.
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Decorative themes of this factory consist primarily of marine animals and landscapes painted in petit feu polychrome. He also developed production of statuettes.
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The church is presided by a superb polychrome wood retable. The retable recounts the life of the Virgin in narrative and symbolic references.
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The film was released on DVD by Polychrome on November 24, 2009. It was later released by Synergetic Distribution on March 9, 2010.
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The original dormers have been replaced as have the polychrome shingles. The house sits on a raised lot that slopes toward the south.
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Design elements otherwise are similar to those found on Gila and Tonto Polychrome vessels. Lyons (2004) describes the spatial distribution for this type as ranging from Petrified National Forest, Arizona to Casas Grandes, Chihuahua, Mexico and from the Phoenix basin to Alamogordo, New Mexico. The locus of heaviest production for this type seems to be centered around southeastern Arizona and southwestern New Mexico possibly indicating the location of origin for this type. Temporal distribution would seem to indicate that this type is temporally significant since sites exist throughout the distributional range containing both Gila and Tonto Polychrome, but lacking Cliff Polychrome.
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Dinwiddie Polychrome Bowl Dinwiddie Polychrome is also defined by bowls with recurved rims and dates to AD 1375-1450. Decoration on this type is restricted to the exterior of vessels with the interior being smudged (Neuzil and Lyons 2005). Dinwiddie Polychrome has a very restricted spatial distribution and may "not occur west of a line drawn through Kinishba, near Whiteriver, and the Nine Mile site, near Bowie [Arizona]" (Neuzil and Lyons 2005: 30). In Crown’s 1994 study, although she did not name this type, she noted that Roosevelt Red Ware bowls exhibiting smudged interiors were confined to a limited geographical range.
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The lower section of the building had Gothic niches and typical polychrome marble decoration. There was a large ocular window in the end of the nave which had to be taken into account. Alberti simply respected what was already in place, and the Florentine tradition for polychrome that was well established at the Baptistery of San Giovanni, the most revered building in the city. The decoration, being mainly polychrome marble, is mostly very flat in nature, but a sort of order is established by the regular compartments and the circular motifs which repeat the shape of the round window.
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Nihonga are typically executed on washi (Japanese paper) or eginu (silk), using brushes. The paintings can be either monochrome or polychrome. If monochrome, typically sumi (Chinese ink) made from soot mixed with a glue from fishbone or animal hide is used. If polychrome, the pigments are derived from natural ingredients: minerals, shells, corals, and even semi-precious stones like malachite, azurite and cinnabar.
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When the rims are instead somewhat rectangular in profile, the type becomes Escondido Glaze Polychrome. In the Pecos Pueblo area, Glaze E rims are sometimes instead somewhat "stubby," meaning that the break is near the rim, and that the thickened portion of the rim is correspondingly short. This variant is known as Pecos Glaze Polychrome (McKenna and Miles 1996; Wilson 2005:59-61).
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The tomb contained the bones of four or more individuals. The ceramic offerings included decorated tripod vessels, polychrome bowls and a polychrome cylindrical vase that had a painted band of hieroglyphs. One ceramic bowl is painted in a negative painting style that is similar to finds from Nebaj. The site core is laid out around eight plazas.Kelly 1996, pp.203–204.
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Polychrome takes several steps to restore to her true form. However, Ozma discovers that the Green Monkey into which Woot is transformed has to be someone's form; it cannot be destroyed. Polychrome suggests as a punishment for wickedness that Mrs. Yoop the giantess be made into the Green Monkey, and Ozma thus succeeds in restoring Woot to his proper form.
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In place of the bronze seal in the floor, Truman had a polychrome painted plaster seal installed above the entrance to the Blue Room.
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The polychrome cast-plaster stations of the cross were repainted in a monochrome gray color scheme, possibly intended to effect the look of stone.
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During this restoration, that traces of the original polychrome were discovered. This import discovery allows one to imagine the entrance in its original state.
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A Children's Puppet Show by Liu Songnian "Three Sages Appreciating Antique" by Liu Songnian. Polychrome on silk. Southern Song Dynasty (abt 1300 CE). Private collection.
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In the chapel on the left, on the right, is a fresco depicting the Last Judgement by the Torresani brothers. In the central apse is a polychrome statue of the Madonna and Child (1489), signed by Carlo l’Aquilano. The 15th-century frescoes depict the Madonna and Child and on the ceiling, Christ in a Mandorla. In the right apse is a 15th-century polychrome crucifix.
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The painted characters of the polychrome gave the faces of people such as Tadeusz Korzon, Władysław Smoleński and Stanisław Tarnowski. As a background, he created a panorama of Płock, with the young residents of the city posed for the image of angels, among others Mira Zimińska. A specific self-portrait of the artist is the figure of saint. Placed on the cathedral polychrome was Saint Peter.
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The Polychrome Historic District is a national historic district in the Four Corners neighborhood in Silver Spring, Montgomery County, Maryland. It recognizes a group of five houses built by John Joseph Earley in 1934 and 1935. Earley used precast concrete panels with brightly colored aggregate to produce the polychrome effect, with Art Deco details. The two-inch-thick panels were attached to a conventional wood frame.
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The high altar made from polychrome marbles, arranged in 1743 by Antonio Troccola and designed by Mario Gioffredo. The dome was frescoed by Francesco De Mura.
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At the top is a pyramidal spire. The reredos (retablo) of the main altar, in gilded and polychrome wood, was executed by Damián Forment (1515–1518).
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The listed chapel in the style of High Victorian Gothic Revival is noted for polychrome effects, geometric tiling and an unusual gallery, supported on marble pillars.
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Pelican Books. Harmondsworth. 1949. Potters began to draw polychrome paintings on the white opaque surface with metallic oxides such as cobalt oxide and to produce lustreware.
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The building has irregular Queen Anne massing, polychrome trim, and massive corbelled end chimneys. The building was listed on the National Register of Historic Places in 1986.
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In the church there are: :– 1.Baroque altar from the early 18th century, carved, polychrome. :– 2.Rococo side altars from the second half of the 18th century.
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Vainker, 43-44 Green-glazed pottery was to be followed by Sancai polychrome glazes, generally including the same green, from the 7th century during the Tang period.
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Sutton Council document Gordon Rookledge in his "Sutton Architectural Identifier" remarks on the "vivid, Victorian, polychrome brick and stone façades" in his description of Sutton High Street.
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Mihrab with polychrome tiles The exceptionally large rectangular mihrab is formed of moulded polychrome tiles. A tiled inscription on the outer cavetto moulding runs up one side, across the top and down the other side of the mihrab. The cuerda seca cavetto tiles have raised white naskh characters which contrast with the cobalt blue background. Running through the shafts of the naskh characters is a second inscription in yellow Kufic characters.
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Glaze F vessels with one slip and "black" glaze paint are classified as Kotyiti Glaze-on-red or Kotyiti Glaze-on-yellow. Several design variants are subsumed by Kotyiti Glaze Polychrome. Some examples of that polychrome type have one slip color and red matte paint elements outlined in "black" glaze paint. Others have two slip colors and either "black" glaze paint examples or red-and-black paint examples (Wilson 2005:62).
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Abbasid lustreware can either be polychrome or monochrome when it comes to the colours featured in the ceramics. It is argued that the different colour types share the quality of the surfaces changing under different conditions. Abbasid potters would normally decorate polychrome bowls with vegetal and geometric patterns, while the monochrome bowls usually had large, centrally placed figures.They are visually sensitive and their appearance can change dramatically in particular conditions.
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Toya worked with matte polychrome, red and black-on-tan Storytellers, jars, bowls, plates, and wedding vases. Her favorite designs were kiva steps, terrace clouds, and cloud tracers.
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When Dorothy Gale, her pet dog Toto, the Shaggy Man, and Button-Bright first encounter Polychrome in the fifth chapter of The Road to Oz, she is seen dancing to keep herself warm, after accidentally sliding off her father's rainbow and landing on the surface of the Earth. (Her father withdrew his bow without realizing she had been left behind.) Polychrome is described as: In personality she is sweet and ethereal, very much the archetypical good fairy. She is very sensitive to cold and, while on Earth, often dances to keep warm. Polychrome states that she normally only consumes insubstantial foods such as dewdrops and mist, and while on Earth can subsist on only minuscule morsels of human food.
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Phoenix Polychrome also occurs only in bowls with recurved rims. This type is similar to Nine Mile Polychrome with the difference being that Phoenix Polychrome lacks the band of black on white decoration on the interior of bowls and is instead entirely covered in red slip. As with other types, the exterior of these bowls may have either Gila or Tonto style decoration. This type dates to AD 1375-1450 and as the name suggests its distribution centers on the Phoenix basin, but distribution extends east to the Cliff Valley and is extends from the Verde Valley in the north to the Douglas, Arizona area in the south (Neuzil and Lyons 2005).
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The entry foyer on State Street and an adjacent reception room recreate the building's original ornate French Second Empire style interiors complete with polychrome stencilling, period artwork, and furnishings.
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Margaret and Luther began making pottery together in the 1960s. Margaret and Luther’s painted slips included unique color combinations. Their first creations included polychrome bowls, jars and wedding vases with designs centered on the Avanyu (water serpent), rain, clouds and lightning and sky bands. In the 1970s they came up with their original idea of making polychrome caricatures of animals and other smaller figurines rather than the jars made famous by their parents.
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The workshop is best known for its broad and tall grave amphorae, painted with polychrome mythological scenes. Later, Andros produced alabastra in the black- figure technique, in relatively small quantities.
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Today, the manufacture of famous multicolored polychrome is waning. Luther’s son Paul, his wife Dorothy, and their son Gary, make blackware mudhead figures and animalitos (small animals) in large quantities.
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Vision of Brazil. In Mexico, Mata Ortiz pottery continues the ancient Casas Grandes tradition of polychrome pottery. Juan Quezada is one of the leading potters from Mata Ortiz.Mata Otriz Pottery.
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The dome is covered with polychrome tiles. The interior is richly decorated. The interior of the church has a crypt with niches containing mummified bodies.Comune of Oria , entry on basilica.
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The cupola was reopened, once more admitting light to the Sanctuary below. Polychrome stenciling repeated the original palette of ochre, bay leaf green, warm gray, and persimmon with metallic gold.
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Polychrome olla from Acoma Pueblo, c. 1889-1903, made for the tourist trade. Historical Acoma economic practices are described as socialistic or communal. Labor was shared and produce was distributed equally.
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The chapel on the right has a polychrome wooden statue of St Roch (1859) carved by Michele Busciolano. The main altar has a 15th-century crucifix.Comune of Potenza, entry on church.
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St. John the Baptist, polychrome terra cotta of c. 1480, in the National Gallery of Art. Benedetto da Maiano (1442 – May 24, 1497) was an Italian sculptor of the early Renaissance.
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1883 reconstruction of color scheme of the entablature on a Doric temple. Polychrome is the "practice of decorating architectural elements, sculpture, etc., in a variety of colors."Harris, Cyril M., ed.
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As it is known from the latest research, vaulted bolts in the southern nave still have the original polychrome colours. Stone portraits of Hungarian kings: st. Ladislaus, st. Stephen. and st.
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The community's 16th-century church boasts a number of colonial-era polychrome and other santos - statues of Roman Catholic saints.Santos in Oaxaca's Ancient Churches: Santa Magdalena Jaltepec Retrieved 2012-04-13.
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Samuel Sanders Teulon (2 March 1812 – 2 May 1873) was a 19th-century English Gothic Revival architect, noted for his use of polychrome brickwork and the complex planning of his buildings.
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" Hooee's pottery is created using clay mined locally. Her work was polychrome. Work is fired in ovens using sheep dung as fuel, or coal when available. Hooee signed her work "Nampeyo.
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They do have some affinities to Celtic Gospel books, but with corrections.Brown 1996, pp. 130-131. A full-page polychrome evangelist miniature with Latin inscriptions precedes each Gospel text (see below).
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Divide Mountain is a summit located in Denali National Park and Preserve, in the Alaska Range, in the U.S. state of Alaska. It is a landmark in the Toklat River valley visible to tourists from the park road. Divide Mountain is situated southwest of Polychrome Pass, 3.44 mi (6 km) southwest of Polychrome Mountain, and north-northeast of Scott Peak. Although modest in elevation, relief is significant since the peak rises over from the surrounding valley floor.
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The presbytery houses a lavishly decorated wooden choir from 1543, a stone ambon with sculpted scenes from Jesus' life, and a wooden pulpit also dating from the 16th century. The aisles feature six side chapels each. The first left chapel is home to a polychrome wooden nativity scene from 1587. The fourth left chapel, dedicated to St. Joseph, is in Baroque and includes a polychrome marble altar with the statue of the saint holding Jesus' hand with a baldachin.
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Rippon Lea Estate, in Australia has polychrome brickwork patterns. Polychrome brickwork is a style of architectural brickwork which emerged in the 1860s and used bricks of different colors (typically brown, cream and red) in patterned combination to highlight architectural features. It was often used to replicate the effect of quoining and to decorate around windows. Early examples featured banding, with later examples exhibiting complex diagonal, criss-cross, and step patterns, in some cases even writing using bricks.
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The building is a four-story, Art Deco- influenced Neoclassical building executed in limestone and brick with a granite base, green serpentine columns, and terracotta with polychrome accents. Characteristics of Neoclassical style include symmetry, smooth stone surfaces, and colonnades. Art Deco influences are apparent in polychrome (multicolored) ornamental details, low-relief geometrical designs, and decorative forms based on nature. The elevations facing Washington and Linden Avenues are bilaterally symmetrical with the more ornamental Washington Avenue facade facing Courthouse Square.
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The mosaic is divided into nine polychrome squares and another space with a polychrome rosette at the entrance of the room. It depicts a dragon in its center, comparable to the mosaic discovered in 1969. On 8 October 2013 the discovery of a bronze tablet from fifth century BC in the urban sanctuary was announced. The tablet has a dedication of eighteen lines written in the Achaean alphabet, the longest Achaean inscription ever discovered in Magna Graecia.
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The drum, of polychrome brick, features tripartite arched window openings on each of the eight faces. The church features polychrome brickwork patterning, including chequer pattern banding on the gables, banding on external columns, dark brick quoining and a dark brick plinth. The external walls are buttressed with shallow attached piers. The eastern elevation features an open portal, with a vaulted covering sheltered by a gabled awning, supported on coupled columns, featuring plaster cast capitals and bases.
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The San Simon Valley is noted for the ceramics of native American Indians called the Roosevelt Red Ware, one type being named for a site in the valley, the Nine Mile Polychrome.
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The chapel also contains a polychrome-painted gesso Pietà from the 15th century.Borghi Magazine, things to see in Pergola, short entry with depiction of main altarpiece.Private tourism website: Pergola Informa, with description.
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Behind the wood carving of the crucifixion and covering the entire wall of the apse are polychrome, terra cotta, ornamental partitions of the Four Evangelists and Archangels St. Raphael and St. Michael.
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In 1852 he was given responsibility for reconstructing the Sorbonne (unrealized), and also for designing the polychrome Cathédrale Sainte-Marie-Majeure in Marseille. Juste Lisch and Edmond Paulin were among his students.
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The building is predominantly light shades of polychrome granite, with brick quoining. The building was listed on the National Register of Historic Places in 1989. It has been converted to residential use.
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In the years 2001–2010 numerous conservation work was carried out, including the restoration of the historic murals in the chancel. The polychrome interior (murals) of the church is worth special attention.
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Cowling and Mundy 1990, p. 117. In 1915 he was painted by his friend, Amedeo Modigliani. In November 1917 he made one of his few sculptures, the polychrome plaster Harlequin.Gris 1998, p. 136.
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The theater was an Italian-style room with three narrow balconies. There was an entrance hall, above which was a foyer. The facade was polychrome, incorporating sandstone, limestone, ceramics, colored glass and brick.
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Past commissions include Louise Nevelson's Transparent Horizon in front of the Landau Building, Sol LeWitt's polychrome floor in the Green Center for Physics, and Anish Kapoor's Non-Object (Plane) in the Stata Center.
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Polychrome painted vessel with marching camels and lion handles. A Kufic inscription surrounds the rim. Found at Rhages, the ancient Median city of Rhei. Probably 11th Century AD. Purchased from H. Kevorkian, 1915.
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The popularity of the style can be attested to by the discovery of a polychrome sword (picture) in the tomb of Frankish king Childeric I (died ca 481), well north of the Alps.
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The ornate polychrome interior of St. Mary's Church of the Assumption is typical of the so-called "Painted Churches of Texas" constructed by immigrants who settled in the region in the nineteenth century.
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If the design also includes red matte paint elements (usually outlined in black), the type is known as Pottery Mound Polychrome (Wilson 2005:51-52). Although most Glaze A rims were quite simple, one contemporary variant has a slightly flaring rim (Honea 1966). Examples with one slip color are classified as Sanchez Glaze-on-red or Sanchez Glaze- on-yellow. Examples with contrasting white (interior) and red (exterior) slips, and with black glaze paint, are termed Sanchez Glaze Polychrome (Wilson 2005:52-54).
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During the construction of the new prison complex within the castle, in the years 1823–1826, the church was adjoined to the neogothic structures and became the prison chapel. The interior and exterior were then plastered over, destroying the priceless polychrome. Toward the end of the 19th century, the chapel underwent a number of small changes: the exterior stairs were dismantled and the portal was converted into a window. In 1897 Józef Smoliński discovered part of the 15th century polychrome.
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Escondida Polychrome may be a hybrid type taking aspects of both Roosevelt Red Wares and Chihuahuan wares and being locally produced in northern Mexico. A second type, unnamed yet, is similar to Escondida Polychrome but exhibits the white slip found on Roosevelt Red Ware. Fenner (personal communication) feels that these vessels are most likely locally produced Roosevelt Red Wares and as such would be found under one of the above headings, although sherds would exhibit the buff- colored paste found in the region.
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For every craft, each artisan has its own way of working. If his/her movement is gentle rather than firm, the final piece will turn out to be slightly different from the other ones, which makes of each craft work a unique piece. Artisans Angkor also masters the arts of polychrome and lacquering which have different processes depending on the medium used as a basis (wood or stone). Lacquerware and polychrome products are often gilded with copper or golden leaves.
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Lodi ceramics were produced in Lodi, Italy from ancient times, but their artistic quality reached its peak in the 18th century. Polychrome majolica dish with paintings of a fish, flowers and fruit. Lodi, 1751.
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The simplicity of the china made it well suited to mix with other depleted services when the occasion arose. The dessert service, rather than being plain, features a soft green border and polychrome flowers.
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The church building was designed in the Gothic Revival architectural style, polychrome masonry. It has been listed by Heritage Victoria with a "Heritage Overlay," which aims to protect places of local significance to Victoria.
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The church is notable for a number of colonial-era santos, statues of saints, some of them executed in polychrome and still in beautiful condition.Santos in Oaxaca's Ancient Churches: Santa María de la Natividad Zaachila.
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The technique was copied by other British potteries.Young, 51; "Bulb pot and cover", V&A; Museum Encaustic tiles are not painted at all, but effectively inlaid with contrasting colours of clay for a polychrome pattern.
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In 1960, when the present-day Bénin attained independence from France, it originally bore the name Dahomey. The official history of the kingdom were recorded and followed through a series of polychrome earthen bas-reliefs.
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Mostly they are (in Western terms) stoneware. Three types of wares especially associated with Shiwan are roof tiles and architectural ornaments, and from the Qing dynasty onwards, imitations of Jun ware and popular polychrome figurines.
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The church and charnel house display a large body of polychrome sculpture, mainly of 16th or 17th century date and rich in complex Christian iconography, reflecting the preoccupations of the Counter- Reformation or Catholic Reformation.
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Colombo was born in 1663 in Este, Padua, Italy. He moved to Naples in 1678. Colombo was a student of sculptor, Domenico di Nardo. Colombo's sculptures were made primarily in marble, polychrome wood, and stucco.
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In 1963, the tserkva was returned to the Polish Orthodox Church. The interior of the tserkva exhibits original components: iconostasis from 1895, and a polychrome from the turning point of the nineteenth and twentieth-century.
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The existence of a large Byzantine church on the site of the present-day Sisters of Nazareth convent was proven in 2006-2007. This church was architecturally complex and elaborately decorated, it was floored with polychrome mosaic (of which only very scant remains survived) and also had polychrome wall mosaics. Further mosaic-floored Byzantine buildings were located to the south of the church. This evidence indicates that Byzantine Nazareth contained two large churches dominating its centre, with other mosaic-floored and colonnaded masonry structures around them.
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Jewellery making traditions of Ukraine also influenced other cultures. For example, the Goths came to the area sometime before 400 CE and adopted some of the techniques prevalent in Ukraine, including polychrome and animal styles later reflected in the Merovingian style of jewellery. The Goths left the Black Sea region under pressure from the Huns. These Asiatic people brought a somewhat different version of the polychrome style, which was characterized by color inlays in soldered partitions and the presence of background patterns of filigree and granulation.
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Glaze B vessels with one slip and black glaze paint are classified as Largo Glaze-on-yellow or Largo Glaze-on-red, the yellow-slipped type being more common. Examples with one slip, and red matte paint outlined in black, are classified as Largo Glaze Polychrome. In this type, the lower portions of bowl exteriors are often unslipped (Wilson 2005:55-57). Rarely, examples are found with two contrasting (interior versus exterior) slip colors and black glaze paint designs; these are termed Medio Glaze Polychrome.
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Dr. Gordon Willey and Albert Norweb excavated the Cruz site (named after the Cruz Hacienda), on the North East part of the island. This site is important because it produced nearly 30,000 sherds, most of which belonged to the Late Polychrome Period. The upper levels of the site produced the diagnostic ceramic types which came to define the Late Polychrome Period for the whole of the Rivas area. Pieces were also found from the San Jorge phase of the Zoned Bichrome Period (Healy, 1980).
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Elmslea Chambers in Goulburn, New South Wales, Australia - built in 1933, it was one of the first buildings in Australia to use coloured polychrome terracotta in its façade which features a fine relief of birds, flowers, leaves and typical Art Deco sunbursts under the windows. Polychrome glazed capital, circa 1915. Randalls Lost NYC collection White glazed Sullivanesque, circa 1925. Randalls Lost NYC collection Glazed architectural terra-cotta (the hyphen usually only found in American usage) is a ceramic masonry building material used as a decorative skin.
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The oratory houses a polychrome scagliola altar frame with a 17th-century canvas depicting the Madonna and Child, with Saints Roch and Anthony Abbot by a painter of the Bolognese school.Comune of Fiorano Modenese, tourism entry.
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Jar necks are near-vertical and display red designs outlined in black. The bottom of vessel exteriors may be unslipped. In the Glaze C through E periods, vessel designs were almost exclusively polychrome (Wilson 2005:57).
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On the Eastern wall, an ark was located, with Decalogue's memorials and covered by a parochet with the Star of David embroidered. Besides, on this wall, a polychrome was painted as well as an unidentified picture.
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The tower and spire are polychrome with horizontal bands of stonework. The organ dates from 1865, and was purchased from Dunblane Cathedral in 1893. The organ states that it was "rebuilt by Eustace Ingram, London 1893".
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With the aid of familiar figures like the Wizard, the Tin Woodman, the Sawhorse, and Polychrome the fairy, Emma Lou and her friends unravel the mystery of the missing Prince of the Blue Mountain, Vitrea's love.
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In the United States, the "Feast of San Gennaro" is also a highlight of the year for New York's Little Italy, with the saint's polychrome statue carried through the middle of a street fair stretching for blocks.
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The main altarpiece, encased in a polychrome marble frame depicts the Transfiguration of the Madonna of Loreto with Holy Bishop Magno and Saint Balbina (1755) by Magno Tucciarelli.Comune of Anagni, entry on church by Dr M. Giudici.
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Salado Polychrome pottery, Tonto National Monument Lower Cliff Dwelling, Tonto National Monument Salado culture, or Salado Horizon, Todd Bostwick of Pueblo Grande Museum, "Salado Summary". was a human culture in the upper Salt River of the Tonto Basin in southeastern Arizona from approximately 1150 CE through the 15th century. Distinguishing characteristics of the Salado include distinctive Salado Polychrome pottery, communities within walled adobe compounds, and burial of the dead (rather than cremation). The Salado were farmers, using simple irrigation techniques to water fields of maize, beans, pumpkins, amaranth, and cotton.
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Polychrome is a cloud fairy and the youngest daughter of the Rainbow, thus she is a "sky princess". She first appears in The Road to Oz (1909), which is the fifth book of the original fourteen Oz books by American author by L. Frank Baum.Jack Snow, Who's Who in Oz, Chicago, Reilly & Lee, 1954; New York, Peter Bedrick Books, 1988; p. 163. She also appears several times in later Oz stories of the classic series, and has a titular role in the modern sequel Polychrome: A Romantic Fantasy by Ryk E. Spoor.
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Glaze A pottery was first made in the Albuquerque area (the earliest directly dated examples being from Tijeras Pueblo) and was dominated by red-slipped examples with black interior designs. The exteriors are sometimes painted with isolated elements such as crosses. Pottery of this description is classified as Agua Fria Glaze-on-red. In some of the earliest examples, however, simple white paint designs appear on the exterior; such pottery is classified as Arenal Glaze Polychrome (with crushed rock temper) or Los Padillas Polychrome (with sherd temper) (Wilson 2005:47-48).
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As Glaze A pottery spread north, yellow- slipped examples appeared and are known as Cieneguilla Glaze-on-yellow. Yellow-slipped pottery with red matte paint elements outlined in black glaze paint are known as Cieneguilla Glaze Polychrome (Wilson 2005:49-50). On some Glaze A pottery, the interior slip color differs from the exterior slip color (so that the background colors are different on each side of a potsherd). If the painted design was executed with black glaze paint, the type is known as San Clemente Glaze Polychrome.
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The sole center of production was Pottery Mound, a village on the lower Rio Puerco (east). Eckert (2003, 2006) breaks this pottery into two types. She uses "Pottery Mound Polychrome" to describe A rim bowls slipped yellow to buff on the interior surface and red on the exterior surface, and dates the type from AD 1375 to 1450 or later. She uses "Hidden Mountain Polychrome" for A or C rim bowls are slipped red on the interior surface and white on the exterior surface, and dates the type from AD 1400 to 1450 or later.
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The Judd and Root Building was built in 1883 to a Romanesque design by Francis Kimball and Thomas Wisedell, and is the most architecturally elaborate of the three buildings. Its ground floor has multiple storefronts, each articulated by stone piers, with three polychrome arches joining them. The second floor has alternating bands of pale stone and red brick, with paired sash windows in segmented-arch openings topped by flared polychrome lintels. In the upper levels, windows are grouped in pairs or threes, with surrounding decorative brickwork and inset terra cotta panels.
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Danien earned an Anthropology PhD for her 1998 dissertation entitled "The Chama Polychrome Ceramic Cylinders in the University of Pennsylvania Museum", which she wrote under the supervision of Robert J. Sharer. The Penn Museum's specimens were especially valuable for study, she argued, because they "constitute the only museum collection of Chama polychrome cylinders with provenience information." Her approach was interdisciplinary, combining approaches from archaeology, art history, epigraphy, ethnohistory, and more. Danien compiled and edited a collection of Maya folktales, published in 2005 as Maya Folktales from the Alta Verapaz.
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Pottery Mound Polychrome sherd Pottery Mound is named after the large number of potsherds lying on the site surface, and after its low mound of melted adobe. The site was part of the Rio Grande Glaze Ware tradition that began ca. 1315 and continued until the time of the Spanish reconquest of New Mexico in 1693. The site's signature pottery, Pottery Mound Polychrome, includes red and black paint on a background consisting of two slip colors (on bowls, one slip color on the inside and the other on the outside).
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Polychrome marble statue depicting the goddess Tyche holding the infant Plutus in her arms, 2nd century AD, Istanbul Archaeological Museum. Sencathea [?] [Female figure] feeding infant Plutus from horn of plenty, relief, Rome. Brooklyn Museum Archives, Goodyear Archival Collection.
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The apse has also a sculpture group of the Annunciation and the decorated tombstone of Alemanda de Rocabertí (died 1373). The walls of the Hall features several 14th-century sculptures of saints, some with traces of polychrome paint.
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One advantage of this approach is its flexibility. In Wilson (2005), for example, Pottery Mound Polychrome is listed as a Glaze A type but at the production center, Pottery Mound, it occurs with other rim forms (Franklin 2007).
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The main aisle of building comes probably from XVI age. It is covered by late-Gothic barrel vault. It has replaced a primitive wooden ceiling. The interior of church is covered by the baroque polychrome from XVIII age.
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It is flanked by two smaller paintings, a Sacrifice of Abraham and of Melchisedech, painted by Fabio Canal. In the second lateral chapel is a 14th- century polychrome wood crucifix. The bell-tower dates from the earlier church.
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The Flora was built in the 19th century from polychrome brick, and Pevsner notes its "angular window heads". The building is also notable for the contrasting brickwork above the windows and the floral motifs incorporated into the design.
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The chapel of Saint Teresa of Ávila was designed in 1640 by Cosimo Fanzago; it has polychrome marble and decorative stucco. There are two paintings by Ippolito Borghese and it contains an incongruous modern statue of the saint.
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The interior of the mosque and the porch are decorated with rich, in polychrome painted ornaments with floral motifs and quotations from Quran. Mihrab, mimber and mahvil abound in ornaments made in stalactites and in customary Turkish perforations.
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The town's church is notable for its large number of fine colonial-era santos (statues of saints), many executed in polychrome and well preserved to this day.Santos in Oaxaca's Ancient Churches: Santa Ana del Valle. Retrieved 2012-04-13.
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THROUGH THE GOLDEN AGE – Charles Gretton – Watch and Clockmaking. pp. 419, 443–447. Gretton produced timepieces, clock watches, alarm watches, several forms of repeating watches (i.e., which contained repeaters), and polychrome decorated watches with enamel dials and porcelain boxes.
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The collection offers an insight into the development of ukiyo-e from monochrome to polychrome prints, as well as the first contacts of Japanese and European art. Some of the artists included are Hokusai, Hiroshige, Kikukawa Eizan and Utamaro.
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The octagonal dome is supported by pilasters and four columns built in Hyberian marble. The high altar is in polychrome marbles, surmounted by a panel depicting the Creation, with stars, the sun and the moon on a blue background.
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Polychrome is slain, and Bright flees. Beaten, Nox and Amy leave the Rainbow Falls. Enraged, Amy beats at a wall made out of the Road of Yellow Brick, transforming into a monster. Becoming frightened, she is able to change herself back.
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Barbara Solomon, The Bishop Court Apartments It is built in Neo-Tudor style, and is reflective of a 15th- century English manor house. Its facade is polychrome Scottish sandstone. The metal grille in the archway entrance was added in the 1970s.
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The Museum also has a group of beautiful polychrome glass windows, oculi, dating from the 14th century and originally from the apse of the sanctuary. Amongst the five windows, the largest is one depicting the Virgin with the Infant Child.
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Varages also made polychrome grotesques in the Pompadour style or in imitation Chinese style, using the strong colors common to Marseille. As other potters came to Varages, in the last three quarters of the eighteenth century it came to rival Moustiers.
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Byzantine wooden crucifix, 12th century. The height parish church of San Lorenzo Martire dominates Piazza Europa. Surrounded by numerous ex-voto, a crucifix is kept in its fine chapel. It is a 12th-century Byzantine statue made of polychrome wood.
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Charlemagne wanted his chapel to be magnificently decorated, so he had massive bronze doors made in a foundry near Aachen. The walls were covered with marble and polychrome stone.A. Erlande- Brandeburg, A.-B. Erlande-Brandeburg, Histoire de l’architecture française, 1999, p.
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The most notable aspect of the exterior are the decorated western and southern gates. In the interior, the most renowned attraction is the cenotaph of the titular martyrs, in polychrome stone. It is one of the best examples of Romanesque sculpture.
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The first of them can be seen in the details and the second one in the central part and columns. In the side niches are set two wooden polychrome sculptures. The first shows Saint Benedict and the second one Saint Romuald.
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The church also contains a polychrome wood statue of the Madonna (14th century) and a choir (16th century) with painted altar and tabernacle, in the Chapel of the Relics, under which lies the crypt of the former cathedral of San Primiano.
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There is also a chapel dedicated to Saint Nicholas, with Romanesque capitals. In 1771, a new white limestone façade was added. Today, the bell-tower retains some of the Romanesque-Gothic elements. In the 18th century, new polychrome altars were built.
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The projecting single-storeyed wings have also been extended. Some of the verandahs have been enclosed. The walls are of polychrome brickwork. Internally the walls are rendered to a height of above the floor, beyond that height the brickwork being kalsomined.
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Artaud gives the dimensions of the pavement in situ 5.035 × 3.086 m. After the second sitting in the hall of the Mummy Comarmond measuring 4.97 × 3 m, very close to modern dimensions. Mosaic is rectangular. Its scope is black, polychrome decoration.
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A Perfect Fit is a 2005 American thriller written and directed by Ron Brown.The film is produced by Primary Process Productions and stars Adrian Grenier, Leila Arcieri, Polly Draper, Victoria Rowell. It was distributed by Warner Bros. and Polychrome Pictures.
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Brinkmann said that "no other aspect of the art of antiquity is as little understood as is the polychrome painting of temples and sculptures", and that modern sculptures, ostensibly inspired by the Greeks but left unpainted, are "something entirely new".
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Polychrome brick standing 36 metres tall. Square base translating through an octagonal section to become a tapering cylinder, terminating in finely corbelled brickwork. A flue leads to the chimney from the centre of the western wall of the boiler room.
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Vase in the Metropolitan Museum of Art, showing a bride and attendants. Centuripe ware, or East Sicilian polychrome ware, or the Centuripe Class of vase, is a type of polychrome Sicilian vase painting from the 3rd and 2nd centuries BC. It is rare, with only some 50 examples known. They have been described as "smothered in ornamental colors and shaped too elaborately", an example of Hellenistic "Middle-class taste [that] was often cloying and hideous, sometimes appealing."Cooke, 156 The class is named after its first and main find location, Centuripe in Sicily; most other finds are also in Sicily, especially at Morgantina.
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Polychrome was played by Dolly Castles in the 1913 stage play, The Tik-Tok Man of Oz by Baum, Louis F. Gottschalk, Victor Schertzinger, and Oliver Morosco. In the play, she sings a duet with Ruggedo titled "When in Trouble Come to Papa".The Tik-Tok Man of Oz Polychrome appears briefly in the coronation sequence of Return to Oz. Though the role is an extra, Allen Eyles's The World of Oz features a production still crediting the role to Cherie Hawkins, who later served for a time on the staff of the theatre department at University of Alaska Anchorage.
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Earley's Polychrome Historic District houses in Silver Spring, Maryland were built in the mid-1930s. The concrete panels were pre-cast with colorful stones and shipped to the lot for on-site assembly. Earley wanted to develop a higher standard of affordable housing after the Depression, but only a handful of the houses were built before he died; written records of his concrete casting techniques were destroyed in a fire. Less well-known, but just as impressive, is the Dr. Fealy Polychrome House that Earley built atop a hill in Southeast Washington, D.C. overlooking the city.
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Polychrome pottery was more complex in nature and therefore more commonly used by the elite. Not only was polychrome pottery used as decoration, it was also used as a form of social currency—a physical display of status and others' approval. As time progressed, various features were added to ceramics to go beyond the fundamental needs of vessels; For example pellets were put in larger bowls to not only serve as something to hold food, but would also become instruments used in the same feasts. Archaeological evidence has been found that suggests ceramics were used for industrial purposes.
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The specimens found consists of 2239 ceramic remains, that include, monochrome ceramic, Lago Negro modeling, Red slip ware, Castle Esgrafiado, Sacasa striated, Managua Polychrome, Leo Punteado, Vallejo Polychrome, Usulután negative, colonial associated to Perulera and unclassified Perulera ceramic. Within the material recorded during the excavation found a total of 17 ceramic monochromatic vessels with fabric impressions, they were distributed in the excavation. Notes: The domestic pottery type monochrome vessels were examined through a magnifying glass and with X 40 Power. The test allowed to observe tissue impressions, noting that the printed fabric are different dimensions, i.e.
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Dijon architecture is distinguished by, among other things, toits bourguignons (Burgundian polychrome roofs) made of tiles glazed in terracotta, green, yellow and black and arranged in geometric patterns. View of the spire of Dijon Cathedral, showing roofs with polychrome tiles. Dijon was largely spared the destruction of wars such as the 1870 Franco-Prussian War and the Second World War, despite the city being occupied. Therefore, many of the old buildings such as the half-timbered houses dating from the 12th to the 15th centuries (found mainly in the city's core district) are undamaged, at least by organized violence.
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The courtyard of the mosque is the earliest extant in a riwaq mosque to be paved with polychrome marble. Most of the mosque’s original work has gone under restoration, however, the mihrab contains remains of the polychrome marble of the era. The lower segment of the mihrab displays eighteenth century Tunisian tiles. Maqrizi also made the claim that “no previous mosque and khanqah, in the area of Saliba, has thrived to this extent, nor was there ever created in the Bahri Mamluk state the equal to their pious endowments and the excellence of their incomes” (Smith).
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The wings were intentionally built first, to help assure the continued funding for the completion of the design. Once the building's exterior was completed, twenty second-floor galleries containing English and American art opened to the public on March 26, 1928 though a large amount of interior work was incomplete. Pediment with polychrome sculpture by Jennewein The building's eight pediments were intended to be adorned with sculpture groups. The only pediment that has been completed, "Western Civilization" (1933) by C. Paul Jennewein, and colored by Leon V. Solon, features his polychrome sculptures of painted terra-cotta figures, depicting Greek deities and mythological figures.
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Within the trenches, among the artifacts found were bronze statuettes, fragments of bronze weaponry, "two pieces of gold foil shaped into bull-headed protomes" and "two polychrome beads".: "Several trenches yielded substantial deposits of archaeological finds—one in particular producing bronze votive statuettes, bronze heads, fragments of bronze weapons, two pieces of gold foil shaped into bull-headed protomes and two polychrome beads." "In addition to the objects named above, other finds include nails, spear points, ceramics (including an intact bucchero grigio miniature cup), arrows and aes rude." These artifacts were mostly dated between the 6th–5th centuries BCE.
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The main altarpiece of the Charterhouse was carved in wood by artist Gil de Siloé and polychrome and gilded by Diego de la Cruz (whose gold came from the first shipments of the Americas after its discovery) Made between 1496 and 1499, is undoubtedly one of the most important existing works of the Spanish Gothic sculpture, by its compositional and iconographic originality and excellent quality of carving, valued by the polychrome. One of the most important elements of the altarpiece is the angelic wheel in which is framed the Christ crucified image for its beauty and significantly accentuated expressiveness by the work of polychrome of Diego de la Cruz. In the outer part of the wheel, are placed the figures of God the Father to the left and the Holy Spirit to the right bearing the rungs of the cross. In the bottom of the cross, the figures of the Virgin Mary and John the Evangelist complete the scene.
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The work remained colorless until 1370, when it was commissioned by the Bolognese painter Simone dei Crocifissi who took care of the rich polychrome and gilding with his very personal Gothic style. The 1981 restoration brought out the splendid polychrome, which had darkened over the centuries, as you can see in the photos before that restoration. But with the subsequent passing of years the humidity of the Church, in which the work was exhibited throughout the year, had begun to ruin the polychrome again. For this reason, at the beginning of 2000 the statues were taken a couple at a time and were restored again, until 2004, when all the work was exhibited in the Pinacoteca di Bologna, where it remained until Christmas 2006, when it was reported to Santo Stefano. Finally, on 21 January 2007 the complete work was inaugurated inside a large electronically controlled humidity and temperature case, equipped with shatterproof glass, which houses the entire group in a permanent and permanent form.
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William Wigginton (1826–1890) was an English architect. Born in Eton, Berkshire, he worked in Derby and Dudley before moving to London in 1860. He published proposals for working-class housing, and designed several Gothic Revival churches in London, often featuring polychrome brickwork.
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The main altar is built of polychrome marble and the apse contains wooden choir stalls. The main altarpiece is an Assumption of the Virgin (1762) by Claudio Francesco Beaumont.Comune of Racconigi, upload on Racconigi: Le Chiese, Le Confraternite, la devozione, (March 2013).
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When the ice under the till melts, the till slumps in and forms depressions called kettles. When kettles fill with water, they are known as kettle lakes. Kettle lakes are visible near the Polychrome Overlook, the Teklanika rest stop and near Wonder Lake.
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During the Spanish Civil War, the image suffered several damages that forced a new restoration in 1974, in which the silver plates that covered the polychrome wood were removed, leaving it as it seems that it had to be its original appearance.
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According to assertion of V. Vuitsyk the facades of Black House and Assumption Church were polychrome namely triglyphs and metopes have traces of red, green, blue and gold paints. The portals and windows are decorated with marble on the inside of the building.
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The famous sculpture of the Capitoline Triad is exhibited on the first floor. The second floor is dedicated to the necropoli and sanctuaries, while the third floor contains a large polychrome mosaic depicting the flooding of the Nile (Nile mosaic of Palestrina).
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This room offers an important collection of wooden masks and furnishings, ceramics, jewels and ceremonial objects dating from 500 AD in the first half of the XX century coming from all over Africa. There is also a polychrome wooden mask from Ancient Egypt.
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Mount Pendleton is a mountain in the Alaska Range, in Denali National Park and Preserve, to the east-northeast of Denali. It lies above the Polychrome Glaciers. Mount Pendleton was named in 1961 by the U.S. Geological Survey for topographer Thomas Percy Pendleton.
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He was awarded the posthumous title of "Loyal Servant" and worshiped in this hall. The whole building is decorated with fine wood carvings, polychrome plaster mouldings, and murals of auspicious motifs. Tang Chung Ling Ancestral Hall was declared a monument in November 1997.
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Depressions in the faience body were filled with coloured "vitreous pastes" and refired, followed by polishing.Egypt and the Ancient Near East, 1987, p. 82, Metropolitan Museum of Art, , 9780870994135, google books Polychrome pieces were usually made by inlaying different colours of paste.
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The main façade has a large rose window. The altarpieces are made from 17th-century intarsia with polychrome marble and mother of pearl. The ceiling has framed canvases. The church has an altarpiece carved in Bitonto stone (1468) by Guido da Guida.
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In 1970 a new interior with polychrome was added. In 1997, the church was flooded to a height of 40 cm. In the years 1997–2000 it was renovated. In the church there are sculptures brought by repatriates from Navaria, near Lviv.
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350px The Santa Croce Crucifix is a c.1406-1408 polychrome wood sculpture by Donatello, then a young artist just back from Rome. It is in the Cappella Bardi di Vernio just off the left transept of Santa Croce in Florence, Italy.
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In 1934, several painted dishes were found near the Shortepe settlement in Sharur. Excavations continued in the 1960s, painted pottery of Kultepe II, as well as Guruchay and Kondelenchay river basins were investigated. Scraps of painted dishes were found in Karakopektepe. Polychrome vessel.
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Four were stolen on 11 September 1989. The main altar is made from polychrome marble with a ciborium shaped like a Tempietto. The Chapel of Santa Orsola was erected in 1780 by the patron Cardinal Domenico Orsini d'Aragona.Comune of Roccagorga, entry on church.
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Carr et al. 2006, p. 27. The realism and dramatic lighting of this work may have been influenced by Caravaggio's work—which Velázquez could have seen second-hand, in copies—and by the polychrome sculpture in Sevillian churches.Carr et al. 2006, p. 29.
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Piers are at the corners. Murals with patriotic themes have been painted on the sides. At the top, below the gently pitched gabled roof in standing-seam metal, is a polychrome mosaic frieze above three recessed panels. Between the towers is a two-story span.
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The church contains polychrome marble including some porphyry columns. The statues on the facade were made by Niccolo Cordieri.Guida metodica di Roma e suoi contorni, by Giuseppe Melchiorri, Rome (1836); page 435. Remains of a late Roman mosaic floor are preserved in the nave.
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Another reconstuction and reconsecration took place in 1747 by the bishop Antonino Serafino Camarda (1724-1754). The facade presently faces North-East. The interior has rich stucco decoration, including for capitals of the pilasters. At the apse, the walls have polychrome marble and gilded capitals.
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Each of the three mihrabs of the complex has a distinct pattern of marble mosaics. The polychrome marble pavement of the sabil, displaying a dense composition of twenty-pointed geometric stars, is one of the most elaborate in Cairo.Behrens-Abouseif, Doris. "Cairo of the Mamluks".
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The region may have been on the periphery of Maya and other Mesoamerican peoples during the Eden phase. Strata from the Late Classic Period, however, revealed that half of the pottery that the people used was of Maya relation. The Maya-related pottery was Polychrome.
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Polychrome ceramic, 6 in high. Metropolitan Museum of Art, New York. Sitio Conte is an archaeological site located in the Coclé province of Panama near Parita Bay. It can best be described as a necropolis and a "paradigmatic example of a ranked or chiefdom society".
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Highlights include the murals that decorated parts of the sanctuary, dedicated to the Epiphany and the Adoration of the Magi. The polychrome paintings are attributed to Master of Pedret, but may be later. The paintings can be seen at the Museu Nacional d'Art de Catalunya.
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A kitchen and veranda at the rear of the home. The facade and chapel have elements of Neoclassical architecture. The chapel had a polychrome painting and a retable typical of the 19th century. The entirety of the house has a floor of baked clay tile.
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Also on display a selection of the best medals from the Royal Collection. Royal Pharmacy. The bookcovers demonstrate evolution of binding styles by era. Examples in the holdings include Rococo in gold with iron lace, Neoclassical in polychrome and Romantic with Gothic and Renaissance motifs.
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His Théatre de Tulle was built between 1899 and 1902 on the site formerly occupied by a 17th-century Jesuit chapel. It was one of the first to be built of reinforced cement. The facade was polychrome, incorporating sandstone, limestone, ceramics, colored glass and brick.
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Polychrome style rayonnant lambrequin decoration, with a chinoiserie central scene. Made c. 1710, this is an early example in all these respects; 23.97 cm. In 1644, Nicolas Poirel, sieur (lord) of Grandval, obtained a fifty-year royal monopoly over the production of faience in Normandy.
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The chapel of Douannec dating from the sixteenth century, with statues of the Virgin and Child, Saint Pierre, and Saint Eutrope in polychrome wood. The church of Saint Guy with a wooden statue of Saint Joran. The fountain of Saint Guy: eighteenth century granite fountain.
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The "Polychrome", built at the end of the 1970s, was Farfisa's largest and most well-featured non-organ instrument, as an analog synthesizer featuring vocal, brass, string, and percussion sections, and including a built in chorus, phaser and modulation as well as aftertouch sensitivity.
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The Charles H. Bigelow House is a historic building in Findlay, Ohio, United States, that was listed on the National Register of Historic Places on March 29, 2006. The home is considered to be a fine example of a Painted Lady, or polychrome Victorian architecture.
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The decoration is applied as metallic oxides, most commonly cobalt oxide for blue, copper oxide for green, iron oxide for brown, manganese dioxide for purple-brown and antimony for yellow. Late Italian maiolica blended oxides to produce detailed and realistic polychrome paintings, called istoriato.
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The unique dome of the tomb has muqarnas adorned inside, and mimics the honeycomb pattern on the outside. The surface and the upper part of the wall is painted with polychrome pattern from the Ottoman period. It reaches high and sits on the foundation of .
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St. Lawrence's Church is a historic, wooden parish church in Woskowice Małe, Namysłów County in Poland. The church was built in 1711. Restored between 1888 - 1889 and 1914 (during which time a polychrome by J. Langer was discovered). The shrine was renovated in 1969.
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The heart of Anastasio Bustamante is preserved here. In this chapel is a sculpture alluding to the first Mexican saint: San Felipe de Jesús. This work, as seen by many art critics, is the best elaborated, carved and polychrome sculptured sculpture from Latin America.
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The church was originally constructed in the 11th and 12th century in a Romanesque style with a polychrome marble facade. The interior featured three aisles. In the 14th century, the exterior was renovated. Of the original facade, only the marble work around the portal remains.
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The building rests on a limestone foundation with a partial basement. The walls are polychrome brick in shades of red, brown, black, and orange. The hip roof has wide eaves supported by projecting wooden brackets. A hip-roofed dormer is centered on the western façade.
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300px The Piot Madonna is a c.1440 or c.1460 sculptural roundel by Donatello in stiacciato (polychrome terracotta with glass and wax inlays). It is in the Louvre after being donated to that museum in 1890 by Eugène Piot, after whom it is named.
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Baptistery of St. John from Piazza del Duomo The decoration of the exterior of the cathedral, begun in the 14th century, was not completed until 1887, when the polychrome marble façade was completed with the design of Emilio De Fabris. The floor of the church was relaid in marble tiles in the 16th century. The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent baptistery the Battistero di San Giovanni and Giotto's Bell Tower.
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The wooden church in Haczów was built out of a wooden framework, raised after 1459, and expanded in 1624 (with the building of the 25 metre starling tower, built away from the church, topped out with a cupola, :pl:soboty (low wooden arcade around the church supported by pillars), the creation of windows in the nave, and the building of an earth bulwark); between 1784 and 1789 (expansion of the sacristy, building of new soboty). The interior of the church is decorated with a polychrome from 1494 (most likely the oldest polychrome of its type in Europe, representing the oldest collection of representative paintings in Poland), and later expanded in 1864.
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This sculpture was commissioned by Esso Australia for a site outside its building on the south bank of the Yarra River in Melbourne. It was installed in 1995. The sculpture is built in polychrome steel. Its dimensions are 780 cm by 670 cm by 350 cm.
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Gerald Cadogan (1991) Palaces of Minoan Crete, Routledge, 164 pages Kamares has provided the type name for Kamares ware, a ceramic type dating from MM IA, or the First Palace Period. This pottery is a light-on-dark polychrome ware, with forms including jugs and cups.
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The church was designed by the firm of Keely and Murphy. James Murphy would later design the first St. Mary Church in nearby Bethel, Connecticut. There are three entrances in the façade set into polychrome Gothic porches. Above each entrance are stained glass windows in Gothic arches.
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Zion Episcopal Church is a historic Episcopal church in Palmyra, Wayne County, New York. It was designed in a Late Gothic Revival style by Emlyn T. Littel and was built in 1872. It is built of Medina sandstone with limestone trim. Its roof features polychrome slate shingles.
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Leonidas Tapia (?-1977) was a Puebloan potter from Ohkay Owingeh, New Mexico, United States. She was the wife of Jose Blas Tapia and mother of Mary Trujillo (born 1937) and Tom Tapia (b. 1946). Leonidas made traditional San Juan polychrome redware bowls, jars and wedding vases.
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The style of the pottery, especially the use of polychrome, reveals Ottoman influence, imitating the ceramics of Iznik. This is unsurprising given that Tabriz, one of the manufacturing centers of Kubachi ware, was located along trade routes with the Ottomans and was invaded by them several times.
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A multimedia presentation, "In the Realm of Shadows" (Im Reich der Schatten), takes place in the department of Roman archaeology twice a day. The show attempts to bring back to life the 'dead' objects in the collection, for instance by projecting the original polychrome onto the sculptures.
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Interior. The interior is decorated with polychrome marble by Nicola Tagliacozzi Canale. The presbytery displays paintings by Paolo de Maio. The elaborate main altar (1713) was completed by Gennaro Ragozzino, and hosts an altarpiece depicting First communion of Santa Maria Egiziaca (1696) by Andrea Vaccaro.Catalani, page 179.
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Catherine's Chapel in Belixe Fortress), while the polychrome statues of St. Vincent and St. Francis were once part of the Franciscan convent on the Cape St. Vincent. Next to the church stands a replica stone standard (padrão), used by the explorers to claim a newly discovered territory.
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The chapel is a small Gothic revival building. Its structure is wooden and covered with bricks. The steep roof is covered with shingles creating polychrome motives. All openings are ogive-shaped, and most wooden surfaces, such as those of the large square front porch, are elaborately carved.
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The Chapel of the Virgen del Campanal was frescoed in the 13th century. These works are now preserved in the Museum of Navarre. Inside the church is the tomb monument of the notary Enequo Pinel, built in 1432. A polychrome alabaster relief depicts the Trinity with three persons.
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The chapel of the crucifix, desire to Don Testori, is located in the right transept. It was blessed by Cardinal Alfredo Ildefonso Schuster on 9 November 1941. The Gothic lines enclose the polychrome and are artistically crafted. A large niche protects an old painted wooden crucifix (17th–18th century).
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Of the 126 ceramic pieces found in Grave 26, a majority of them lined the walls of the grave. These included thirty-six effigy vessels and ninety polychrome plates. The other occupants had a few grave goods, including several gold ear rods, which were associated with Skeleton 8.
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Dating from 1922, these windows were made by Emil Frei Art Glass Co. of St. Louis and Munich in Germany. The small statues for the stations of the cross along the walls are made out of polychrome plaster. File:Alters Inside St.Peter Church.jpg File:Left Alter Inside St. Peter Catholic Church .
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Other ancient Amazonian ceramic traditions, Mina and Uruá-Tucumã featured shell- and sand-tempered pottery, that was occasionally painted red. Around 1000 CE, dramatic new ceramic styles emerged throughout Amazonia. Amazonian ceramics are geometric and linear in decoration. Polychrome pottery typically features red and black on white slips.
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Polychrome marble carving (4th century BC) of two griffins devouring a deer. Formerly at the Getty Museum, now at The Museum Center of Ascoli Satriano. Church of San Rocco. Ascoli Satriano (; ) is a town and comune in the province of Foggia in the Apulia region of southeast Italy.
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The buildings were covered with ornament in curving forms, based on flowers, plants or animals: butterflies, peacocks, swans, irises, cyclamens, orchids and water lilies. Façades were asymmetrical, and often decorated with polychrome ceramic tiles. The decoration usually suggested movement; there was no distinction between the structure and the ornament.
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View towards main altar. Dome frescoes by Vernansal depicting Paradise The internal area is octagonal, and richly decorated by polychrome marble. The ceiling fresco depicting paradise was completed by Guido Luigi Vernansal. The interior contains a Madonna and Child by Andrea Briosco, originally from the church of the Umiliati.
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Naphthol Green B is used in histology to stain collagen.Histological and Histochemical Methods: Theory and Practice, 4th edition, J. A. Kiernan Moreover, it is used for polychrome stains with animal tissue. For industry purposes Naphthol Green B is used for staining wool, nylon, paper, anoxidized aluminium and soap.
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The latter is still polychromed whilst the polychrome has disappeared from the former. In both sculptures Joseph of Arimathea and Nicodemus surround the Virgin Mary who is supported by John the Evangelist. Mary Magdalen stands to the rear. Joseph of Arimathea holds the shroud which will cover Jesus' body.
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The Benjamin represents an early-20th- century stylistic synthesis of the Arts and Crafts movement with Renaissance Revival elements. Decorative flourishes at the front entrance are rendered into relatively austere interpretations. Subtle modulations in the polychrome patterns of the brick work introduce another decorative element.Mod (2002), p. 12.
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To the right is the chapel dedicated of Saint Camillus with the vault frescoed (1744) by Sebastiano Conca. In the church is also has a painting of San Lorenzo Giustiniani with Infant Jesus by Luca Giordano. The rococo sacristy is elaborately painted, stuccoed, and decorated with polychrome marble.
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Polychrome Pictures, LLC, now defunct, was headquartered in Sherman Oaks, California, as a distributor of independent motion pictures on DVD, video on demand, and through digital distribution.Smartbrief.comDVD VerdictReuters.com Polychrome's independent film business in North America was primarily conducted through Warner Home Video. However, after losing the Warner Bros.
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Such bricks were laid simultaneously with the building of external walls. Polychrome majolica tiles were also used in wall decoration. In the interiors, murals and relief ornaments began to appear. Applied art featured widely in the construction of the mausoleums of Khoja Ahmed Yasawi, Kok-Kesen and Alash Khan.
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Joseph Csaky 1920, multidimensional relief, limestone, polychrome, 80 cm, Kröller-Müller Museum Multidimensional art is art that cannot be represented on a two dimensional flat canvas. Artists create a third dimension with paper or another medium. In multidimensional art an artist can make use of virtually any items (mediums).
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The current trophy was first awarded in 2000. The previous trophy was copper with gold paint. The original cup is a work of art in itself as well as an archaeological relic that is part of Mexican history. The relic is a small glass polychrome found in Oaxaca Zaachila.
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At the end of the Jemdet Nasr period, there was an archaeologically attested river flood in Shuruppak. Polychrome pottery from a destruction level below the flood deposit has been dated to the Jemdet Nasr period that immediately preceded the Early Dynastic I period.Schmidt (1931).Martin (1988), pp. 20–23.
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The church was erected under the patronage of Marquis Carlo Filiberto of the House of Este San Martino. The original vault is concealed above the Baroque panelled ceiling. On the left of the nave are three chapels. This church acquired works from suppressed monasteries including polychrome scagliola altars.
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The diocesan cathedral is dedicated to Saint Mary and Saint Joseph and is located in Dangar Street, Armidale, opposite Armidale Central Park and diagonally opposite the Anglican cathedral. It was built in 1911 of Pyrmont stone and Armidale polychrome brick. It was solemnly dedicated on 12 December 1919.
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Rio Grande Glaze Ware was first made about AD 1315 (based on tree-ring dating at Tijeras Pueblo). It partly displaced an earlier tradition of black-on-white pottery and was inspired by the White Mountain Red Ware tradition (Carlson 1970) centered on the upper Little Colorado drainage of eastern Arizona and western New Mexico. The apparent ancestral type for Rio Grande Glaze Ware, Los Padillas Polychrome, was a local variant on a White Mountain Red Ware type, Heshotauthla Polychrome (Wilson 2005:43). Los Padillas is found at sites dominated by black-on-white decorated pottery (Mera 1935:33), a pattern predating the glazeware tradition, and Wilson (2005:43) dates Los Padillas from AD 1175 to 1300.
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The main altar was designed in 1768 by Filippo Fasulo and completed in polychrome marble with sculptural decorations by Paolo Persico. The main altar has three paintings, a Circumcision (1673) by Luca Giordano and an Annunciation and Nativity by Francesco Solimena. The ceiling has an Immaculate Conception frescoed also by Giordano.
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It was built between 1855 and 1859, designed by the Scottish architect George Wigley. The facade made of brick and travertine features three doors. In the central tympanum of the door there is a polychrome mosaic, depicting Our Lady of Perpetual Help. The facade is further embellished by a rose window.
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The main altar has a polychrome statue of the Madonna and Child attributed to Silvestro dall'Aquila. A restored 15th century fresco of an Enthroned Madonna delle Gracia with Child is attributed to the school of Carlo Crivelli. Attached to the church is the 12th century cloister.Province of Teramo Tourism office.
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Material evidence and narrative sources : interdisciplinary studies of the history of the Muslim Middle East. OCLC 903185722. After drying, the frit body was then covered in a layer of white slip. Monochrome and polychrome underglaze with stains of either copper (turquoise), cobalt (blue) or manganese (purplish-brown) were then applied.
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In 1957, the church received a rich polychrome decor and in 1966 were placed at the altar the painting "Last Supper" and the figure of St. Peter and Paul, works of the artists Mikulski and Mrówczyński. In the 1990s, an overhaul of the tower was conducted and stained glasses replaced.
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Nwantantay can also be made of polychrome by the blacksmiths. Built in horizontal shapes, these masks can represent different animals and have specific designs. For example, a butterfly mask would have concentric circles, while a hawk mask would have a plain white surface. these masks are worn for female entertainment.
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The structure is mostly mid-Victorian. Predominantly an example of Early English Gothic Revival, the structure has a steep pitched polychrome Welsh Slate roof and other aspects that clearly mark it from a distance as being a mid 19th Century construction. The main tower is surmounted by a gilded weather cock.
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Among the altarpieces are four lateral canvases attributed to Niccolò Porta. The polychrome main altar was built in the 18th century. The organ (1766) was built by Tommaso Porziotta. The monastery was suppressed in 1812, and the convent underwent many secular uses, including as a jail and later a public school.
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Christ carrying the Cross. Height: 180 cm Christ carrying the Cross () is a 15th century polychrome and oak sculpture attributed to the French sculptor Ligier Richier in the Église de Saint-Laurent in Pont à Mousson in Meurthe-et- Moselle."Historical monuments: Christ carrying his cross". French Ministry of Culture.
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According to an Italian historian, it was seen by Charles VIII of France in the 1480s, when he was camped with his army near Florence. The work was damaged by the 1966 flood of the Arno River, and the restoration process revealed some of the statue's original polychrome and gilding.
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The bell tower has three floors with decorated brickwork, and is surmounted by an 18th-century spire, similar to that of the Torre de la Seo. The brickwork façade and the choir date to the Baroque period. The Renaissance artist Damian Forment executed the polychrome wood sculpture at the high altar.
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Between 1619 and 1625, the chapels of the Saints Teresa and Joseph were built. Among the architects involved at this time was Floriano Ambrosini. In 1690, the polychrome marble Chapel of the Holy Family was completed, designed by Ferdinando Bibiena. In the 18th-century, Alfonso Torreggiani reconstructed one of the chapels.
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In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2006) Retrieved 11 May 2009 This tradition was continued by the Nazca, whose vessels were elaborately figurative (see illustration below right), decorated with polychrome glazes, or both. The vessels were constructed by the coil method.
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On both ends of the roof are quadrigas. The building used to be surrounded by small patches of lawns, which have since been transformed into parking spaces. The building is up to four stories high. The architect's original plan was to have the entire exterior in polychrome, like in ancient Greece.
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They tried to combine British and Belgian design innovations with French taste. The results could be graceful. Plumet's façades often included polychrome materials, bay windows and galleries open on one side. However, the buildings were not particularly innovative apart from the addition of curvilinear ornamentation, which was unusual at the time.
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The south part of Bagnoles-de-l'Orne, which is called Belle Époque district is filled with superb bourgeois villas with polychrome façades, bow windows and unique roofing. This area, built between 1886 and 1914, has an authentic "Bagnolese" style and is typical of high-society country vacation of the time.
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Unlike most of its kind, it is elaborately polychrome, with highly-elaborate pillars and finely-modelled representation of the baptism of Christ. The church also displays its banners. These are an important artifact of Breton culture. They form a rallying point for parishioners attending the local pilgrimage festivals, known as pardons.
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The Aztecs produced ceramics of different types. Common are orange wares, which are orange or buff burnished ceramics with no slip. Red wares are ceramics with a reddish slip. And polychrome ware are ceramics with a white or orange slip, with painted designs in orange, red, brown, and/or black.
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Alongside Worcester Shrub Hill station in Shrub Hill Road were the Worcester Engine Works. Their polychrome brick building was erected about 1864 and probably designed by Thomas Dickson. However, only 84 locomotives were built there and the works closed in 1871.Richard Morriss The Archaeology of Railways, 1999 Tempus Publishing, Stroud.
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Cave entrance Font-de-Gaume is a cave near Les Eyzies-de-Tayac-Sireuil in the Dordogne départment of south-west France. The cave contains prehistoric polychrome cave paintings and engravings dating to the Magdalenian period. Discovered in 1901, more than 200 images have been identified in Font-de- Gaume.
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Floors were paved with polychrome marble in the sanctuary and courtyard, although the minor riwaqs were paved with stone. The prayer hall includes two blind windows decorated either in the Andalusian or Moroccan style, one in a geometric pattern and the other in floral.Behrens-Abouseif, Doris. "Cairo of the Mamluks".
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The dome was built in 1783, and covered with copper sheets during the 20th century. The side chapels, characterized by altars decorated with polychrome marbles, date from the 19th century. Also noteworthy is the Hyblean Archaeological Museum, with different sections devoted to archaeological finds from the Prehistoric to the Late Roman era.
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Stan F. Dann (born May 23, 1931 Burnaby, British Columbia, died May 8, 2013 in Lafayette, California) was a contemporary Northern California artist known for his puzzle-like bas-relief wall sculptures of polychrome wood. His earlier commercial career during the 1960s-1970s produced popular carved wooden signage, graphics and art objects.
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The Simon Weldele House is a wood frame building rising two and a half stories. It is irregular in plan, with multiple gables emerging from a hip roof, and a polygonal corner tower. Elements of Queen Anne style include the wraparound porch with turned posts, fretwork gable panels, stained glass, and polychrome exterior.
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Archaeologists have found a variety of objects that form our picture of Salado life and culture. Salado Polychrome pottery was both useful and decorative. Sandals woven from yucca and agave fibers testify to weaving skills, as do close-coiled baskets. Bone tools helped the Salado function and thrive in the desert environment.
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The Belize Valley Archaeological Reconnaissance Project: A Report of the 2012 Field Season, pp. 210-232. Institute of Archaeology, National Institute of Culture and History, Belmopan, Belize. Dos Arroyos Orange-Polychrome, Garbutt Creek Red, Miseria Appliqued, Mountain Pine Red, Paxcaman Red, Pedregal Modeled, Platon Punctated, Roaring Creek, Savanna Orange, and Tutu Camp Striated.
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Exterior facade San Pier Maggiore in an 1865 canvas San Pier Maggiore is an originally Romanesque-style, former Roman Catholic church in Pistoia, region of Tuscany, Italy. The church is notable for polychrome decorations that partially decorate the ground floor of the exterior, similar to that see in the church San Giovanni Fuorcivitas.
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The basilica was magnificently appointed according to its importance within the ecclesiastical structure of Cypriot Christianity. Its walls were revetted in white marble. The altar was enclosed within a chancel screen, and covered within a four-posted baldachin. The aisles were paved in opus sectile while the nave was paved with polychrome mosaics.
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Now it is in the British Museum collection, missing the first three scenes. There is another surviving copy of this painting, made during the Song Dynasty and is now held in the Palace Museum in Beijing. The Song version is complete in twelve scenes. The painting is on silk and is a polychrome.
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The main altar of polychrome marble, had an image of the Virgin in precious stones with bronze, donated by Cardinal Bonifazio Bevilacqua. The altar was designed by Antonio Tosi. In the choir, Mona's three large canvases were still present. One altar in the nave had a Deposition from the Cross by Flemish artist.
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The Classic period represents a time of growth and fluorescence at Pacbitun. Three phases are represented at the site: Early Classic, Late Classic and Terminal Classic. Each phase has associated ceramics (monochrome and polychrome), and a suite of radiocarbon dates. The site appears to have been abandoned at the end of this period.
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This memorial was built in 1922 in the Church Square. It is in the form of a polychrome statue in cast iron 1.6 metres tall representing a soldier with grounded arms. The monument was ordered from a company located in Jeumont (Nord) and mounted on a pedestal erected by a local contractor.
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The main altar has two paintings, a 17th-century canvas depicting San Gregorio Magno and an 18th- century Nativity. Among other works in the church are a polychrome wooden crucifix putatively donated by Pope Pius V in 1571 and attributed to Giovanni Battista Casignola. There is also an altarpiece by Orazio Gentileschi.
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Polychrome "Madonna and Child" Stipo, an ebony cabinet This room (the Sala di Ercole) gets its name from the subject of the paintings on the ceiling. Also the tapestries show stories of Hercules. The room contains a Madonna and Child and an ebony cabinet called a stipo inlaid with semi-precious stones.
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Also of interest is the wooden alms box which has a carved open palm on top and stands by the south door. In front of the altar at the eastern end of the church there is a 19th-century polychrome marbles and malachite floor which is reputed to be a Russian gift.
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The three-storey palazzo has a pentagonal floor plan which follows the shoreline of the Grand Canal. It has tall windows with centrings, divided by false columns and decorated with friezes. There were once polychrome marble and porphyry slabs, now lost. The medallion on the facade once incorporated a painted St Mark's lion.
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The small church was first erected in 1515, but the present church, with a single nave and austere exterior date to the 18th century. The main portal derives from the 16th century. The small church has four lateral altars. The main altar (1729) is made from polychrome marble and decorated with stucco putti.
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The Jan Pier House is a historic home located at Rhinebeck, Dutchess County, New York. The farmhouse was built about 1761 and remodeled about 1881 in a Second Empire style. It is a one- to two story, asymmetrical stone building built into a hillside. It features a Mansard roof sheathed in polychrome slate.
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Eastman Terrace is a historic rowhouse block located at Poughkeepsie, Dutchess County, New York. It was built in 1872 and consists of ten sections. The block is three stories high on a raised basement. It features a mansard roof with polychrome slate and an elaborate roofline with decorative stone parapets and iron cresting.
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The diameter dome is supported by eight pointed arches. The dados of the prayer hall are decorated with large square polychrome underglazed tiles. These have a border of two styles of rectangular tiles. The tiles are believed to have been produced locally in Diyarbakır but are very similar to those produced in İznik.
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The offering included nine ceramic vessels including four polychrome vessels, three earthenware bowls and a tripod plate. The border of the tripod plate and its supports bear the Ik emblem glyph of the Motul de San José polity and one of the polychrome vessels has a painted scene of courtly life depicting a king of the same site. These pieces do not mention the king of Tamarindito and are believed to have been gifts from Motul de San José. A stingray spine was found by the king's pelvis, an obsidian knife was at his waist and a large long flint knife had been placed on his chest, similar to a knife depicted on a sculpture at Chichen Itza where it is used to decapitate a human sacrifice.
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Today, thanks to the conservators from Toruń, we can see a reconstruction of said polychrome. In the second half of the 19th century, during the next reconstruction of the house, the second winding staircase - this time cast in iron – replaced the chimney. Since 1970, the building houses the Museum of Art of the Far East.
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The nave of the church was designed by William H. Clayton and built in 1865; the transepts and chancel, designed by William Mason were added in 1873. All Saints is an example of gothic revival architecture. A notable architectural feature is the polychrome brickwork. The bricks came from the brickworks in Filleul Street, Dunedin.
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The church of San Giovanni in Tuba was heavily damaged in 1917 during the World War I. The frescoes were almost all lost. What was saved is the floor of the ancient Christian basilica, a polychrome mosaic with geometric motifs including Solomon’s knots, and floral designs. Today, mass is not celebrated in the Church.
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Over the window is a pronaos with two angels holding a candle, along with medallions in polychrome ceramics. Over them are two seraphims over a wheel, in turn surmounted by a niche with Christ Blessing. The Romanesque bell tower was remade in the upper part. The cloister has columns and capitals in different styles.
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Other decorations include two linked plant stems in a figure eight, a wolf, and a bird with open wings. On the gospel apse, there are plant motifs as part of a frieze. This decoration is of a later period. Inside is a polychrome statue of the Virgin of the Llet, dated to the 13th century.
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Glazed steatite beads were produced. There was a clear transition from the earlier Ravi pottery to what is commonly referred to as Kot Diji pottery. Red slip and black painted designs replaced polychrome decorations of the Ravi Phase. Then, there was a gradual transformation into what is commonly referred to as Harappa Phase pottery.
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Glaze E was made from 1515 until 1700 (Wilson 2005:59). Glaze E bowl rims fall into three named categories. Puaray Glaze Polychrome is characterized by thickened rim profiles reminiscent of willow leaves, above a marked break in the exterior profile. The designs included red matte paint elements outlined runny black (or off-black) glaze.
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The sober facade has three doors, each flanked by Doric pilasters. The roof is richly carved with cassetoni by Alessandro Della Nave and Antonio Villa. The main altar (1867) is decorated with scagliola. In the rear of the choir is a 16th-century, polychrome terracotta statuary group depicting a Crucifixion Scene by Alfonso Lombardi.
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In addition, the interior of the cathedral is embellished with paintings of the Virtues, mosaics of the Sacraments and twelve panels made in polychrome ceramics. The stained glass panels were designed to withstand a wind pressure caused by wind velocity of /hour. The themes for each panel are related to the life of St. Paul.
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The elaborate, polychrome folk paintings on the synagogue walls are reproduced from surviving plaster fragments and old photographs. In the post-World War II era the small synagogue was used as a garage.Synagogues of Europe: Architecture, History, Meaning, Carol Herselle Krinsky, M.I.T. Press, 1985, p. 102 In the 1980s it stood as a roofless ruin.
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Old Cuban constructions inherited from the Spaniards have multicolored or polychrome glass on their windows. In Spanish these are called in "Vitral". They resemble the stained glass windows of a church but on a smaller scale. The magazine's name was intended to symbolize the need for transparency and a plurality of ideas in Cuba.
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The central church, known as Chiesa plebana, is of the Latin Cross layout with a nave, two aisles and transept. The aisles are divided by cruciform pilasters with alternating capitals with zoomorphic motifs and of Corinthian style. The walls above the colonnade are polychrome. The trefoil-arched wooden ceiling dates from the 14th century.
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It is made of polychrome wood. The second ex-voto is a model of the "Tikocco", race track, which was created after the tragedy of the Fastnet in 1979. This famous race which turned very quickly to the drama in August 1979, caused 15 victims. The ship model is offered in recognition by survivors.
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The stucco work was performed by Giuseppe Scarola. The silverware for the altars were completed by Felice Cioffi in 1735 - 1738. The pavement in tile and maiolica was designed by Nauclerio. In 1743, the prioress of the Hospice, Anna Sanfelice, commissioned a polychrome marble altar designed by Ferdinando Sanfelice, and completed by Giuseppe Astarita.
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In 1974, she made two polychrome sculptures at the École Le Londeau in Noisy-le- Sec. In 1978, Holley painted a mural in entrance hall of the Tour Helsinki. In 1998, Holley's works became simpler and more synthetic. In 2007, a retrospective was held in her honor at the Roybet Fould Museum in Courbevoie.
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825 BC onwards. The natural superiority of Eretria's harbour and the importance of trade to the Euboeans is one explanation for this gradual population migration from Lefkandi to Eretria. Eretria had a strong agriculture power, but it is unknown where they planted their crops and fed cattle. Ancient Greek polychrome antefix, featuring a Gorgona.
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The Casa d'Oro. Pencil and watercolour by John Ruskin. (1845) The Ca' d'Oro or Palazzo Santa Sofia is a palace on the Grand Canal in Venice, northern Italy. One of the older palaces in the city, its name means "golden house" due to the gilt and polychrome external decorations which once adorned its walls.
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The presbytery interior is roofed by a sculpted 12th-century ciborium. In the nave on the right, a polychrome wooden bust represents Pope Saint Clement, whereas on the other side there are interesting remains of frescos. Outside, the stone portal and the façade’s archivolt are both carved in a Romanesque style.Tourism Office of Teramo.
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If the pots are to be turned black, the chamber is sealed to keep smoke in and air out. Lydia Quezada is credited for the black variation. She says she learned how to do it when she accidentally sealed the chamber for a polychrome pot, creating black clouds. The effect prompted her to experiment.
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Sand blowing off a crest in the Kelso Dunes of the Mojave Desert, California. Toklat River, East Fork, Polychrome overlook, Denali National Park, Alaska. This river, like other braided streams, rapidly changes the positions of its channels through processes of erosion, sediment transport, and deposition. Congo river viewed from Kinshasa, Democratic Republic of Congo.
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These consoles illustrate, by themselves, the manneristic aesthetic on the unusual and the association of opposites, combining mineral, vegetable and animal kingdoms. These refined motifs, heightened through the polychrome interplay and relief of the passageway, were much appreciated by contemporaries and inspired details on other buildings, such as Hôtel de Massas and Laréole Castle.
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The backyard (eastern side of the building) is adjacent to a small garden associated with Villa Wilhelm Blumwe, where stands an original 19th- century fountain decorated with polychrome sculpture of herons. The building has been put on the Kuyavian-Pomeranian Voivodeship Heritage List N°601301 Reg.A/1128/1-4, on 7 July 1992 and 29 September 1998.
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The interior walls are of polychrome brick, red with black and white bands and diapering. The chancel arch is of moulded stone dogtooth decoration with colonnettes on corbels supporting the capitals. The reredos is arched on Purbeck marble colonnettes with alabaster carving depicting the Last Supper. The east window and rose window at the west end contain stained glass.
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All chapels show altarpieces added in the 18th century. The most significant is the Chapel of the Virgin of Socorro, second to the right, design attributed to Fernando de Casas y Novoa, the architect of the Obradoiro facade of the cathedral, a centralized space decorated with polychrome materials and jaspes of sumptuous appearance Covered with dome casetonada on pechinas.
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It is situated halfway between Azpeitia and Loyola. It was built in the late 13th and early 14th centuries. It contains a polychrome Gothic carving of Our Lady of Olatz, for whom it is said that San Ignatius felt a special devotion. The private boards of Gipuzkoa held their meetings here until the beginning of the 18th century.
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Volume 5, Chemistry and Chemical Technology. Cambridge University Press. At the end of the Han Dynasty (AD 220), the lead-barium glass tradition declined, with glass production only resuming during the 4th and 5th centuries AD.An Jiayao (2002) "Polychrome and monochrome glass of the Warring States and Han periods" pp. 45–46 in Braghin, C. (ed) Chinese Glass.
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Reinforced concrete walls were covered in stucco to appear similar to earlier California missions; mission tile roofs topped the buildings. Recessed porches, cantilevered balconies, polychrome tile bands and wrought iron grillework complement the designs. In 1993 and 1994, the Historic American Buildings Survey documented many of the structures within Hamilton Field, assessing each one for historic value.
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The present Romanesque and Gothic structure was first consecrated in 1107 or 1108, but a previous church from the 9th century stood on the site. The cathedral has a narthex. The interior has five naves, of which the central one is marked by tall polychrome columns rising two storeys. The ceilings are frescoed, sometimes sky blue.
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An Ostrogothic eagle-shaped fibula, AD 500, Germanisches Nationalmuseum Nuremberg Before the invasion of the Huns, the Gothic Chernyakhov culture produced jewelry, vessels, and decorative objects in a style much influenced by Greek and Roman craftsmen. They developed a polychrome style of gold work, using wrought cells or setting to encrust gemstones into their gold objects.
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The church, dedicated to St Phillip Neri, was designed by the brothers Pietro Giacomo, Michele, and Domenico SartorioLodi monografia storico-artistica, by Felice De Angeli, Andrea Timolati, published in Milan (1877), page 140. and built during 1740-1745. The Sartori also completed some of the statuary. The interior is extravagantly decorated, with frescoed surfaces and polychrome altars.
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The sultan's bath was decorated by Sinan with high-quality İznik polychrome tiles. But much of the tile decoration of the harem, from structures damaged by the fire of 1574, was recycled by Sultan Ahmed I for decoration in his new Sultan Ahmed Mosque in Istanbul. The walls are now either clad in marble or white-washed.
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Most of the plates made by the factory are octagonal, and some tea and coffee sets are six-sided. A common product was a bulbous mug with an incised cordon above the foot, enamelled with a Chinese scene in polychrome. Philip Christian & Co took over the factory when Richard Chaffers died and produced similar designs until 1778.
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Stencild were used to create the ornaments; they are not incised. The feet, handle attachments and inside of the mouth are decorated with alternating red and black flames. Because of the two-layer slip, the flames are black-rimmed. The necks are decorated with meanders, spiral crosses or polychrome budded tendrils, a single known piece features a bucranium.
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The cemetery's chapel, in a striped polychrome brick and limestone Neo-Romanesque style also dates to 1931 and was listed in 2006. A branch library was opened in 1935, and a Methodist church in 1937, both on Preston Road. An Anglican church, St George, was established on Marfleet Lane in 1938 as a subsidiary of the parish of Marfleet.
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Amy Weinstein is an American architect. Her work has gained attention for its attention to the visual appeal of faceted, polychrome detail while maintaining a modernist sensibility. Her buildings characteristically feature multicolored facades, elaborately worked railings, or bricks arranged in bold patterns. She is known for her buildings in Washington, D.C., which are concentrated in the Capitol Hill neighborhood.
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His 1834 publication Vorläufige Bemerkungen über bemalte Architectur und Plastik bei den Alten (Preliminary Remarks on Polychrome Architecture and Sculpture in Antiquity), in which he took a strong position in favor of polychromy - supported by his investigation of pigments on the Trajan's column in Rome - brought him sudden recognition in architectural and aesthetic circles across Europe .
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The Jaguar and Eagle warriors were some of the armies that the Spanish fought during the Conquest; they wore resplendent apparel. Few explicit pictorial references to these warriors were permitted afterwards. The murals at Ixmiquilpan are an exception. The murals here appear in a series of polychrome frescos, which have structure in a large and coherent way.
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The Mosque has two floors. Cylindrical columns without capitals and with a large cornice form a gallery that encircles the building. The skeleton of the Mosque building is formed by 122 wooden posts fastened by a system of beams and nozzles. The highlight of the Mosque are the abundance of decor - wood carvings, polychrome paintings in rich colors.
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The church was designed by Walter Granville, architect of East Bengal Railway. The complete church in Lombardic Gothic style is attractively executed in bright red brick with polychrome dressings. To the east of the church is the memorial garden which can be approached through only one gateway. It has a handsome carved Gothic screen designed by Henry Yule.
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Habicht-Mauche (1993, Table 2) dates it from AD 1300 to 1350, however. The type is sometimes called Los Padillas Glaze Polychrome. Rio Grande Glaze Ware was fired in an oxygen rich atmosphere. The lead-based pigment yielded a black glazing paint despite the presence of oxygen, while iron-based, non-glazing pigment yielded a matte red paint.
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Profile of Glaze C rim Glaze C bowl rims have everted lips. Glaze C was made between AD 1425 and 1500. This rim group has one named type, Espinoso Glaze Polychrome, which includes red matte paint elements outlined in black glaze paint. The contrast between the red paint and the other colors give Espinoso pots a "gaudy" look.
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Preserved at Marienburg was a polychrome statue of Mary about eight meters in height, made of artificial stone and originally decorated with mosaic tiles. Mary was the most important patron of the knights and central to the liturgy of the Teutonic Order, so it is not surprising to find such striking representations of her at their most prominent castle.
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The rock art may be either monochrome or polychrome. Red and black were the colors most frequently used, but white, pink, orange, and green also occur. The most common figures are humans and deer, but a variety of other animals, such as rabbits, bighorn sheep, birds, fish, and snakes are also represented. The human images often include stylized headdresses.
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In relation to the ceramic it can be asserted that only three types of ceramics are reported: Sacasa Striated, Murillo neck applied, some Papagayo polychrome ceramic pots, there were basalt and chalcedony lithic chips. Funerary urns were transferred to the laboratory with part of their archaeological contents were burials urns 1, 2, 3, 4, 5 and 6.
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Rogner, I. 2001. New Methods to Characterise and to Consolidate the Polychrome Qi-lacquer of the Terracotta Army. In: W. Yongqi, Z. Tinghao, M. Petzet, E. Emmerling and C. Blänsdorf (eds.) The Polychromy of Antique Sculptures and the Terracotta Army of the First Chinese Emperor: Studies on Materials, Painting Techniques and Conservation. Monuments and Sites III.
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The ceiling of the Sala Ariosto is frescoed, and in the cornice medallions depict the founders of the library. On a niche with polychrome marble rise four columns and an alabaster bust of the poet. Surmounted by garlands of fruit, the monument is flanked by statues of Poetry and Fame.Ferrara Terra e Acqua Sala Ariosto entry.
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The exterior of the building is covered with brick. It is decorated with limestone quoins and polychrome terra cotta ornaments. A limestone belt at the second floor level runs around the building on three sides (east, south and west) and the eastern bay of the north side. The belt is decorated with an acanthus leaf pattern.
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Salado Polychrome pottery from Tonto National Monument Tonto National Monument is a National Monument in the Superstition Mountains, in Gila County of central Arizona. The area lies on the northeastern edge of the Sonoran Desert ecoregion, an arid habitat with annual rainfall of about 16 inches (400 mm) here.Roosevelt 1 WNW, Arizona - Climate Summary. Western Regional Climate Center.
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The cenotaph of Asmat Begum occupies the exact centre of the hall. Corner rooms have tombstones of Nur Jehan's other relations. The most important aspect of this tomb is its polychrome ornamentation. Beautiful floral, stylized, arabesque and geometrical designs have been depicted on the whole exterior in inlay and mosaic techniques, in various pleasing tints and tones.
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John Joseph Earley (1881 in New York City – November 25, 1945) was the son of James Earley, a fourth generation Irish stone carver and ecclesiastical artist. A skilled artisan, architect, and innovator in the use of concrete Earley is best known for the invention of the Earley Process, a technique also known as polychrome, architectural or mosaic concrete.
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The "Lamentation", attributed by most scholars to the Maître de Chaource, is shown in the gallery at the end of the article. The work is in limestone with traces left of polychrome and is thought to date to 1525. This dimensions of the work are 0.73 x 1.42 x 0.50 metres. Descent from the Cross I www.culture.gouv.fr.
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The listing is described in its North Dakota Cultural Resources Survey document. and It is one of two "outstanding" buildings, both one story, that "represent the Tudor Revival", within the Downtown Grand Forks area whose historic resources were surveyed in 1981; the Lyons Garage is the other. Both are "done in polychrome brick of yellow and red".
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The station has a polychrome brick Venetian Gothic facade. It is a Grade 2 listed building designed by Charles Henry Driver. Access to the five platforms is via steep wooden staircases, which are unusable by infirm or physically disabled passengers. Most services at the station call at Platforms 3 and 4, on the slow lines into Victoria.
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The west transept shrine has been truncated to accommodate a new baptistry. A large polychrome rood (crucifix) which may have originally hung in the sanctuary has been placed in the remaining portion of the west transept shrine to which has been added a false back to bring the surface out to meet the back of the crucifix.
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The imposing Neoclassic pronaos (1823) of the facade, designed by Giuseppe Maria Talucchi has four monumental columns, flanking advanced wings with pilasters, and triangular tympanum. The sober linearity clashes with the decorative interior with its playful, shell-shaped Juvarrian window frames. The six chapels have elliptical domes. Juvarra designed the polychrome marble pavement of the presbytery.
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The nave has eight slightly indented side altars and two chapels. The altarpieces of St Dominic and St Thomas Acquinas were painted by Antonio Zanchi. The altar of the Holiest Sacrament is made of polychrome marble. The center of the nave has a late-19th century fresco depicting the Coronation of the Virgin by Giovanni Battista Baldi.
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The building was built in 1892 and consecrated in 1894. The space was renovated in 1952 and 1993. The main entrance faces east and is decorated with two large polychrome statues of St. Paul and St. Peter, dating from before 1914. Charles de Gaulle visited it in 1944 and Pope John Paul II did the same in 1980.
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The roof was in wood covered with polychrome terracotta. The terracotta was placed through a refined system of syllabic abbreviations and they were integrated with bronze inserts and a generous profusion of plastic inserts, mostly modelled by hand, among which a splendid series of grand antefixes (joint coverings) with the heads of Gorgons, maenads and satyrs.
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The sanctuary was erected in 1846–58 by design of G. Carducci of Fermo, and it houses four statues by Luigi Fontana. The aedicule, designed by Francesco Vespignani in 1881, houses the venerated Simulacro (1620), a work of S. Sebastiani. The crypt of the cathedral has a polychrome ceramic crucifix by Giuseppe Marinucci.Comune of Ripatransone, tourism entry.
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The Layer Monument with four Northern Mannerist figurines The Layer Quaternity are four marble sculpture figurines approximately in height located on the two columns of the Layer Monument, an early 17th-century polychrome mural monument () which was installed in the Church of Saint John the Baptist, Maddermarket, Norwich to the memory of Christopher Layer (1531–1600).
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The polychrome reliefs in her tomb are still intact. Other members of the royal family continued to be buried in the Valley of the Kings. Tomb KV5, the tomb of the sons of Ramesses II, is an example of this practice. The tomb of Queen Satre (QV 38) was likely the first tomb prepared during this dynasty.
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If the pithos was small enough to stand in a conspicuous location, the bands were further divided into polychrome geometric patterns, such as a checkerboard or chevrons, or painted panel or band scenes, often in relief. These scenes are in no way inferior to those of other painted pots; in fact, the more extensive surfaces allowed more detail.
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Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, Louvre. In December 1870, at a site called Tanagra in Greece, archaeologists unearthed a group of Hellenistic terra cotta figurines bearing traces of original polychrome. The discovery caused a sensation, because it provided firm evidence supporting the theory that ancient sculpture was painted.
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Nevertheless, we must bear in mind that the work has lost practically all its polychrome, so that its present appearance is very different from the original. The Catalan area has numerous examples of this typology, and of Romanesque in general. Amongst the main precedents is the Christ from Gero, kept in Cologne and dated between 960 and 980.
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Gothic vault was rebuilt after World War II. Inside the church there are remains of a late Renaissance polychrome, a Gothic relief, a Renaissance triptych (1540), a Romanesque baptismal font, and a Baroque pulpit. The church was partly destroyed in the Swedish invasion of Poland. In the parish cemetery there are two 300-year-old tilias.
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The Afghan War Memorial mosaics, the polychrome floor tiles, choir stalls, screen and pews were also produced to Butterfield's designs.Paul Thompson: "William Butterfield", Routledge & Kegan Paul, London, 1971, p.450 The church was consecrated on 7 January 1858, by Bishop of Bombay, John Harding. The spire cost a sum of Rs 5,65,000 and was finished on 10 June 1865.
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Within the madrasa the four legal schools, or the four madhhabs of Islamic law were regularly taught. Other teachings housed in the madrasa included the Hadith and the teaching of medicine. The madrasa had two iwans and two recesses as evidenced by the accompanying waqf document. The large courtyard of the madrasa was paved with polychrome marble.
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The central "old town" or "vieille ville" is extensive. Historically Beaune is intimately connected with the Dukes of Burgundy. Landmarks in Beaune include the old market (les Halles), the 15th-century Hospices, the Beffroi (clock tower), and the collegiate church of Notre Dame. Beaune is the main center for the "Burgundian tile" polychrome renaissance roofing style of the region.
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It has the classic mansard roof, an ornately decorated entry porch, heavily bracketed cornice, and round-arch windows in its dormers and front bay. The carriage house features a polychrome mansard roof. The house was listed on the National Register of Historic Places in 1984, and was included in the Nobility Hill Historic District in 1990.
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The exterior retains a polychrome treatment typical of the period. The barn is a one-and-a-half- story wooden structure. Its board and batten siding and Gothic Revival door panels suggest that its construction predates the house. At the time of the property's National Register nomination, a one-story shed stood near the back of the house.
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The Oriental ark design included sliding doors and a curved forepart. The most notable features of this era included domes and arches that contained geometrical polychrome designs. Many synagogue styles from the 16th to the 19th century can be seen across American and throughout Europe. However, after World War II, the ark design evolved into an art form.
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In the chancel is a brass to the memory of the founder. There is also a monument to Benjamin Piggot, who died in 1606, his three wives and his children. It is in polychrome marble and incorporates coats of arms and brasses. The font is octagonal and dates from the 15th century, the cover is probably 17th century.
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By 1971 he had perfected a kind of polychrome pottery. Despite never receiving formal instruction, he succeeded in turning out high-quality vessels. His experiments have gone beyond recreated old style pottery. For example, one of his goals was to find a rich source of white clay, hard to find since it is untainted by other minerals.
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The lower part starts at the top of each side with blind arches including lozenges. The bell has instead a good plan, with a single mullioned window on each side, and is surrounded by a gallery with small arches supported by columns. The cusp has a pyramidal shape. The polychrome effect was obtained by using stones from different locations.
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She is the daughter of Ernesto Tapia and noted potter Belen Tafoya Tapia (1914–1999). Anita’s mother Belen was one of the innovators of finely crafted polychrome redwares. She was a first cousin to Margaret Tafoya. Growing up in a family of traditional potters, Anita began learning Santa Clara pottery techniques as a child from her mother.
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The chapel of San Rocco has a 16th-century polychrome terracotta statue of its namesake, and is decorated by frescoes on the Life of St Roch by Crescenzio Gambarelli and Rutilio Manetti. The baptismal font was designed by Giovanni Barsacchi, and is decorated with a she-wolf (Lupa) emblem (1962) by Emilio Montagnani.Contrada della Luppa, entry on the oratory.
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The Goths carried this style to Italy, southern France and Spain. One well known example is the Ostrogothic eagle (fibula) from Cesena, Italy, now at the museum in Nuremberg. Another is the Visigothic polychrome votive crown (picture) of Recceswinth, King of Toledo, found in a votive crown hoard of c. 670 at Fuente de Guarrazar, near Toledo.
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Heroic Landscape with Women at Brook, Child Fishing, and Herdsmen c. 1744 John Baptist Jackson (1701–1780) was a British artist, a woodcut printmaker of the eighteenth century. He lived and worked in Paris and Venice. Jackson was prolific, ambitious and innovative within the medium, and produced both chiaroscuro and polychrome prints, as well as wallpaper.
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The Rozvi kings revived the tradition of building in stone and constructed impressive cities, now known as 'zimbabwes', throughout the southwest. Polychrome pottery was also emblematic of its culture. The Rozvi empire had many economic branches but agriculture was its backbone. They planted crops such as sorghum and millet and the state depended heavily on subsistence farming.
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In a niche at the base of the chancel is the polychrome terracotta statue of the Madonna del Ponte. The facade has a projecting portion formed by the portico which is capped by the balustrade. The exterior walls are made of brick. The campanile is separate from the rest of the structure and has three levels.
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The interior is lit by windows in the cupola. The main altar was also designed by Cagnola in 1831–1834 with polychrome marbles. The cupola was frescoed (1828–30) by Francesco Tencalla, and restored in 1975 by Angelo Pasinetti. The altarpieces in the three altars derive from the prior pieve, and were painted by Giovanni Paolo Cavagna.
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Among the internal decoration now in the church. The paintings for the 1st and 2nd altars on right are by Aureliano Milani. The 3rd altar has an early 14th-century Crucifixion scene with polychrome wood statues of the Virgin, John the Baptist. A canvas of the Massacred of the Innocents (1640) was painted by Giovanni Battista Razzani.
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Cairo:AUC Press, 2008. p 244 The mihrab and minbar are both decorated in a typical period style. The minbar is decorated with finely carved wooden doors and panels, and above the minbar is a large rosette of polychrome marble. This is particularly unique because this style is usually used on a floor, rather than upon a wall.
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There are numerous polychrome Kangxi 'Famille verte' and Qianlong 'Famille rose' plates in the collection. The collection holds a pair of 'Famille noire' pots which belonged to the Kangxi Emperor. There are also a number of Imperial Japanese pieces in the collection, among them a blue-and-white Arita gendi with Arabian ormolu mouldings, an early 19th-century blue-and-white Arita charger decorated with a floral still life and pomegranates, a large blue-and-white vase decorated with priests and flowers, and many polychrome pieces of Japanese porcelain, such as a number of Imari tea sets and plates and a Kakeimon plate from about 1650 decorated with eight panels and a landscape. The Van Tilburg Collection has many Swatow pots, bowls, plates and chargers representing all the different decoration styles.
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Polychrome explains that she accidentally fell off her father's bow while dancing on it. The bow ascended into the atmosphere and back into the clouds before she was able to climb her way back on it, thus being left behind. Dorothy, Toto, the Shaggy Man, Button-Bright, and Polychrome eventually come to the peculiar town of Foxville, where anthropomorphic foxes live. With prompting from King Dox of Foxville, Dorothy deduces that she and Toto are obviously on another "fairy adventure" that will ultimately lead them to magical Land of Oz, just in time for Princess Ozma's royal birthday party, (which is now acknowledged as August 21 by Oz fans, even though the book only refers to the 21st of the month), Dorothy having mentioned that the current month is August in another passage.
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Menier Chocolate Factory, Noisiel, France, 1872, a particularly elaborate example of polychrome brickwork. Polychrome brickwork is a style of architectural brickwork wherein bricks of different colours are used to create decorative patterns or highlight architectural features in the walls of a building. Historically it was used in the late Gothic period in Europe, and the Tudor period in England, and was revived in Britain in the 1850s as a feature of Gothic Revival architecture. Later in the 19th century and into the early 20th century it was adopted in various forms in Europe for all manner of buildings such as French eclectic villas, Dutch row houses, and German railway stations, and as far away as Melbourne, Australia, where the technique reached heights of popularity and elaboration in the 1880s.
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The entrance of each temple had statues of robust and seated men which supported the standard- bearers and banners of handmade bark paper. Each stairway was defined by balustrades flanking the stairs terminating in menacing serpent heads at the base. These stairways were used only by the priests and sacrificial people. The entire building was originally covered with stucco and polychrome paint.
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An inscription dates the fine, ebony minbar to 1155; the minbar is the first dated example of Seljuq art in Anatolia.Scott Redford, The Alâeddin Mosque in Konya Reconsidered, Artibus Asiae, Vol. 51, No. 1/2, 1991:55 The polychrome ceramic frame of the mihrab and the dome above may date to this period. Kaykaus I began a major rebuilding program in 1219.
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This polychrome brick and stone Federation era building comprises four storeys with a basement. The upper three levels are encompassed by giant order pilasters that separate the window openings. These have plain capitals that support cut stone semi-circular arches over the top windows. The parapet has four shallow concave curves punctuated by projecting piers at the centre and ends.
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The church was founded in 1581, but underwent reconstruction in 1638 by the architect Cosimo Fanzago. He avoided the prevalent polychrome marble decoration of churches, and adhered to the characteristic plainness of many Observant Franciscan Order churches. The columns from within the church were likely appropriated from another older church. The main altar has 17th century wooden statues by Fra' Diego da Careri.
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Entrance to the site Bulla Regia is now an archeological site. There is a museum, and underground tours are available.Website about Bulla Regia Restoration work aims to protect the buildings, which are well-preserved due to being largely built underground. Most of the elaborate polychrome mosaics are being conserved in-situ, allowing visitors to see them in their original architectural context.
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The interior houses a single-space wide nave with a large wooden barrel vault, enclosed by a wooden matroneum. Patches of the rich painting decor have survived on the walls, unfortunately repainted and partially plastered. Balustrades and matroneum are covered with polychrome floral and geometric motifs. In the chancel stands a brick altar designed by Heinrich Seeling, with an openwork clearance.
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1969, Varshavskaya station, also known as the "Warsaw" station, teamed Aleshina and Natalya K. Samoilova (). Construction began in 1969 and extensively utilized Gazgan marble, which naturally transitions in color gradation from cream to black, to create a polychrome expanse, which was broken by rows of columns that were wide at the header and tapered, diminishing in size toward the base.
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Afraid, Pete knocks Amy out and escapes. When Amy awakes, Polychrome’s home is on fire and under attack by Glinda and Dorothy. It is revealed that Pete disclosed their location to Glinda, believing that Glinda would help him. Polychrome, Amy, Nox and Bright lose the fight, and Glinda takes the Tin Man’s heart and the Lion’s tail and leaves with Pete.
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In 1920 Gutfreund moved permanently to Czechoslovakia and lived in Prague and his birthplace town Dvůr Králové nad Labem. His works of the 1920s are generally realistic in form,Metken 1981, p. 240. and exemplify the postwar "return to order" in the arts. He executed many small works in polychrome ceramic, such as the Textile Worker (1921) in the National Gallery in Prague.
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This Japanese folding screen was made from several joined panels. Screens were used to separate interiors and enclose private spaces, among other uses. This work is considered a representative work Eitoku. The painting is a polychrome-and-gold screen that depicts a cypress tree against the backdrop of gold-leafed clouds, and surrounded by the dark blue waters of a pond.
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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.
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Wenger, Gilbert R. The Story of Mesa Verde National Park. Mesa Verde Museum Association, Mesa Verde National Park, Colorado, 1991 [1st edition 1980]. p. 66. . Pottery making became an art form for individuals who specialized in distinctive styles made for trade. Polychrome (multiple colored) pottery painted in white, orange, red and black was made at the end of the Pueblo III period.
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They stand from high and were hand modelled, with exquisite detail.Sharer and Traxler 2006, p. 378. The Ik-style polychrome ceramic corpus, including finely painted plates and cylindrical vessels, originated in Late Classic Motul de San José. It includes a set of features such as hieroglyphs painted in a pink or pale red colour and scenes with dancers wearing masks.
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Sculptures of San Fernando and San Pedro, located under the choir, were created by Pedro Roldan. In the altarpiece of the Conception, the figure of San Esteban is an anonymous work of the seventeenth century, but it is attributed to Montanes. The altars are the work of . The pulpit, made with polychrome marble and rich woods is the work of Francisco de Barahona.
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Head of the stairs, 2001 Ivor Abrahams (10 January 1935 – 6 January 2015) was a British sculptor, ceramicist and print maker best known for his polychrome sculptures and his stylised prints of garden scenes. His career long exploration of new subject matter, novel techniques and materials made his art dealer, James Mayor, describe him as Europe's equivalent of Robert Rauschenberg.
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During the 1930 excavation of Templo Mayor, the only fully polychrome chacmool to be found at that site was in its original context on the top level of the Tlaloc side (the side dedicated to the rain god) of the temple.Moctezuma, Eduardo Matos. "Archaeology & Symbolism in Aztec Mexico: The Templo Mayor of Tenochtitlan." Journal of the American Academy of Religion, vol.
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The single-family dwelling has four major projections, each gabled, extending from the rusticated stone lintels, ornamental porch and bargeboards, polychrome color scheme, and combination of square and slanted bay wings. In good condition and relatively unaltered, the house is architecturally significant, as is the monitor-form carriage house, the lower level bays of which has been filled with windows.
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There is Gothic lettering, which is polychrome-painted. The arches were painted in a wooden crucifix in the 17th – 18th century. The chapel of Our Lady of Caravaggio is at the right part of the transept. The walls are also painted with frescos and there are two windows, which are designed with the themes of Regina Pacis and Consolatrix Afflictorum.
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Rhodian plate, end of 7th century BC Rhodian vase painting was a regional style of East Greek vase painting, based on the island of Rhodes. Especially well known are the Rhodian plates. These were painted in a polychrome (multi- coloured) technique, with some detail incised, as in black-figure vase painting. Between 560 and 530 BC, situlae based on Egyptian models prevailed.
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The cave itself is shallow, reportedly more like a large rock shelter. There are more than 100 paintings in total, most of them being stick figures and “unidentifiable schematic designs.” There is an emphasis on flat shapes and the use of multiple colors, in a polychrome style. The Olmec paintings are bold and massive, similar in theory to the Olmec sculpture style.
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Later work added Queen Anne styling, including the three-story tower, with polychrome roofing and cement-like wall surfacing. It has several ornately decorated porches. The house was purchased in 1872 by Edwin Haskell, owner of the Boston Herald. The house was listed on the National Register of Historic Places in 1979, and included in the Lasell Neighborhood Historic District in 1986.
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House at 205 North Main Street is a historic home located at Canastota in Madison County, New York. It was built about 1870 in a small scale, eclectic adaptation of the Second Empire style. The one story structure features a multi-gabled, flared mansard roof with polychrome slate shingles. It was added to the National Register of Historic Places in 1986.
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B.C.jpg The Grave Monument from Kallithea is a tomb of a family of metics from Histria (Nikeratos and his son Polyxenos), which was excavated in Kallithea (Athens, Greece). The monument itself dates back to around 320 BC and contains a polychrome frieze. It is currently located at the Piraeus Archaeological Museum. This grave monument was built outside the Long Walls leading to Piraeus.
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It supports a two-story, five-bay brick building with gabled roof shingled in polychrome slate pierced by two brick chimneys. The south (front) elevation has a full-width wooden porch supported by chamfered columns on both stories. The slope of the land means that the rear of the first story is underground. All windows have paneled wooden shutters with their original hardware.
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De Baudot used a combination of brick, stone and metal, creating a polychrome design. His buildings were modern and functional. Design for a large covered space (1914) using reinforced concrete pillars and arches. De Baudot was interested in exploring use of new materials as a vehicle for expressing new architectural ideas, and became interested in the potential of reinforced concrete.
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Above the edifice rises the bell tower with its pointed arched windows. The inside is in three naves divided by pylons. The main altar is of inlaid polychrome marble. Behind the altar there is the monumental pavilion of the Patron Saint, work of Raffaele Pata, in which is kept the wooden statuary group of San Giorgio, with the queen and the dragon.
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The work shows several differences from the earlier Coronation now at the Uffizi. The gilded background has disappeared, replaced by a more realistic light blue sky. The composition is more advanced, perhaps inspired to the innovation introduced by Masaccio. Angelico here depicts a rich cyborium with Gothic triple mullionss, supported by a series of polychrome marble steps, as the set of the Incoronation.
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He was responsible for the straightforward pediment above the main entrance and for the emphatic entablature in the interior. In 1668, Olympia's son, Camillo, took over responsibility for the church. He reinstated Carlo Rainaldi as architect and engaged Ciro Ferri to create frescoes for the interior of the dome. Further decorations were added; there were large scale sculptures and polychrome marble effects.
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Minanha was discovered in 1922 by a chiclero, who investigated a burial chamber containing human remains and polychrome vessels. In March 1927, Thomas Gann and T. A. Joyce of the British Museum launched an expedition to investigate the ruins and upon discovering the surrounding landscape lacked surface water, the site was named “Minanha”, which roughly translates to “Place Without Water”.
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The slip pews are made of oak with tre- and quatrefoil carvings at the ends. The floors in the center and side aisles are laid in a polychrome glass pattern, with carpet covering the area under the pews. There is a brass dedication plaque on the west wall. Open stained pine trusses spring from corbels along the walls frame the ceiling.
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At the top, there is a shell. In the interior is the Chapel of the Senor de la Sacristia, which is decorated in Neoclassical style. In both the church and the chapel are found a large number of colonial-era santos (statues of saints), many executed in fine polychrome and well preserved.Santos in Oaxaca's Ancient Churches: Santo Domingo Ocotlán . Retrieved 2012-04-13.
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III (1976), coll. 977-978, voce a cura di P. Centi. In 1710-1711, under the pontificate of Clement XI, the church was completely rebuilt by Giacomo Recalcati. On this occasion it was granted to the Oratory of the Madonna del Carmine, the polychrome wooden statue, depicting the Madonna del Carmine, popularly called the "Madonna de noantri", protector of the Trastevere district.
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After a fire in 1673 only a cabinet of main altar of St. Nicholas with polychrome sculpture of the Madonna, st. Nicholas, st. Adalbert in lifesize and three of the four Evangelists sculptures on consoles with a canopy has been preserved. The authorship of the altar is attributed to the Prešov carver John Weiss, who lived there back in 1509.
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The elaborate Baroque decoration (1755-56), including stucco, carved wood, and polychrome marble, was designed by Nicola Tagliacozzi Canale. The statue of St Michael Archangel is attributed to Girolamo Santacroce. The church also has a funeral monument to Conradin of Swabia. The chapels have altarpieces by Mattia Preti, Giovanni Sarnelli, Matteo Bottigliero, Francesco De Mura, Francesco Solimena, and Antonio Sarnelli.
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Chinoiserie bowl, Lambeth Pottery, c. 1760 Towards the end of the 17th changing taste led to the replacement of apothecary pots, tiles and large dishes by polite tablewares, delicate ornaments, punch bowls, teapots, cocoa pots and coffee-pots. The decoration became lighter and more informal. Changing taste was also reflected in chinoiserie decoration and greater use of a polychrome palette.
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The church also benefited from its position on the famous pilgrimage route to Santiago de Compostella. Sculptors, stonemasons and artists from across Europe gathered to work on the monastery. Queen Sancha chose the new monastery as the site of the royal burial chapel. Today eleven kings, numerous queens and many nobles lie interred beneath the polychrome vaults of the medieval "royal pantheon".
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To the left of the entrance is the 16th-century baptismal font with stone base with a sculpted lion and foliage. The lion holds the seal of the church with a bishop's mitre, and the words S. Leo 1592. Above the portal are statuettes depicting a baptism. The main altar, with a polychrome baroque balustrade, has a 16th-century marble Virgin.
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The façade is decorated with lesenes and stuccoes. The interior is on the Greek cross plan with a convex rhomboidal map, like the one of San Carlo alle Quattro Fontane. The apse, deeper than the side chapels, still houses the baroque altar made of polychrome marbles and a stained glass window depicting Saint Rita of Cascia. The dome is in the middle.
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' A two- storey polychrome brick building with four storey campanile in Italian Romanesque Revival style built in 1892 and designed by W. L. Vemon. The facade is of asymmetrical design dominated by the tower. A massive arched opening leads to the posting boxes. Beautifully detailed brickwork and facade is embellished with sandstone royal insignia, various arched openings, string courses and a sandstone plinth.
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She worked in both traditional and modern basket styles, and participated in the annual Indian Field Days competition in Yosemite in the 1920s. Her daughter, Daisy Mallory, became a prominent weaver. She was among a group of Paiute women who "became known for their exceedingly fine, visually stunning and complex polychrome baskets." Others in this group included Lucy Telles and Carrie Bethel.
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Silk leggings associated with the caftan. The caftan's borders, each about wide, are made of two different designs of polychrome samite (weft-faced compound twill weave) patterned silks. One textile is used for the lapels and the outer border of the lower panels, and the second for the inner border of the lower panels. Both would be visible when the garment was worn.
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When that vase type went out of use around 400 BC, white-ground vase painting also ceased. Later, during the Hellenistic period, various types of white-ground pottery occur in several locations of the Greek World, sometimes painted monochrome, sometimes polychrome. They include Hâdra vases, Canosa Vases and vases of the Centuripe type. Lagynoi were often decorated in white- ground technique.
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The Batterson Block was the first of the three buildings to be built. It is a five-story masonry structure, with load-bearing brick walls finished with stone trim. The ground floor has a commercial storefront with five arched openings in white stone. The second through fourth floors have Romanesque style round-arch windows, with polychrome arches, and columns separating adjacent windows.
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The two tiers of horseshoe windows on the facade are emblematic of the style, and the recessed doorway and arcade of five windows on the floor above the entrance are particularly decorative. Inside, a horseshoe arch frames the heichal and polychrome columns support the galleries. The mashrabiyya latticework on the front doors is particularly fine.H.A. Meek, The Synagogue, Phaidon, London, 1995, p.
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Separately-listed on the Commonwealth Heritage List, the Naval Store is a large victualling store constructed in 1893 to an Admiralty design, of polychrome bricks brought from Britain. With sandstone string courses, cornices, sills, granite thresholds to doors. Of three storeys and semi-basement with parapet to the roof, the northern fourth floor never having been completed. Otherwise remains in near original condition.
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Sculpture by Pierre Legros of Saint Stanislaus Kostka (1702-03) in the Jesuit novitiate adjacent to Sant'Andrea al Quirinale, Rome. The rooms of Saint Stanislaus Kostka have been reconstructed next to the church. A sculpture in polychrome marble by Pierre Legros (1702–03), depicts the dying saint. Fr. Andrea Pozzo has painted scenes from the life of the saint in the rooms.
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El Paso Polychrome is a type of pottery believed to have been produced by Native Americans in the Hueco basin near El Paso, Texas, between 1200 and 1600. The pottery comes in the form of jars, bowls and occasionally animal forms colored red, black or brown. Often the pieces were given a thin reddish wash, and featured paintings of simple geometric patterns.
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The interior houses a wooden polychrome crucifix (1560) and a Madonna del Pozzo, copy of Franciabigio's work.Province of Prato tourism site. It contains a 15th-century wooden statue of St Anthony Abbott, attributed to Agnolo di Polo and a statue of San Leonardo attributed to Domenico di Niccolò “dei Cori”. It has a terracotta in the Della Robbia style depicting the Visitation.
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Until the early 1870s much of Waterhouse's brickwork was polychrome in nature using decoration such as diapering, later he preferred plain brick often with dressings of contrasting material. His sketchbooks are full of details of brickwork on the continent.Cunningham & Waterhouse, p. 168 He never used coloured tiles on his roofs but occasionally designed patterned slate roofs, as on Manchester Town Hall.
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The church on State Road 503 is not original; ill-considered efforts to restore the grand original church caused it to collapse. The pueblo encompasses of land with waterfalls, lakes, and mountainous areas. Until about 1830, Nambe was known for a pottery style called Nambe Polychrome. Today, pottery is making a comeback, especially black-on-black and red-on-white.
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The present church is a reconstruction, after the earthquake of 1920, of the classical 16th-century church designed by count Ottonello Ottonelli. The stone façade has a central oculus, and two flanking windows. The interior has two polychrome wood altarpiece frames: one houses an Assumption (1600) painted by Francesco Cavazzoni, while the other has a Madonna and Saints by Mastelletta.Comune of Fanano, monumenti.
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St Jude's Church is an Australian Anglican parish church in the Melbourne suburb of Carlton. It is one of the first complete polychromatic brick churches built in the country. The church was opened in 1866 as a temporary wooden building, but was rebuilt as a Gothic-polychrome building between 1866 and 1874. It was rebuilt - completed in 2019 - after a fire in 2014.
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Main altar. It was attached to the Congregation of the same name, established to pray for the souls in purgatory. The church was designed by Giovan Cola Di Franco, and consecrated in 1638. The apse is richly decorated with polychrome marble and stucco, and has a peculiar detail of winged skulls, by Dionisio Lazzari, on the pilasters lateral to the main altarpiece.
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The church was built in 1619, along with the Collegio delle Scuole Pie, by Ottonello Ottonelli. The interiors are richly decorated with polychrome marble. Among the canvases in the interior are a Martyrdom of St Catherine of Alexandria by Guercino, and a Madonna della Ghiara attributed to Ludovico Lana. Other paintings are attributed to Pellegrino da Fanano and Girolamo Vanulli.
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The reliefs with Biblical tales were executed in 1524–1555 on designs by Lorenzo Lotto. They are characterized by a polychrome effect rendered through the use of different wood types. The right transepts has Giottesque frescoes from an unknown artist, with Histories of St Aegidius, The Last Supper and the Tree of Life (1347), partially covered by a 17th-century fresco.
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Bust of Niccolò Machiavelli This was Machiavelli's office when he was Secretary of the Republic. His polychrome bust in terracotta and his portrait are by Santi di Tito. They are probably modelled on his death mask. In the center of the room, on the pedestal is the famous Winged Boy with a Dolphin by Verrocchio, brought to this room from the First Courtyard.
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This "white ware" body was used for a variety of styles of decoration, all showing great advances in sophistication. Apart from lustreware, the most luxurious type was mina'i ware, which used polychrome overglaze enamelling, the first pottery to do so. This also required a light second firing; some pieces combined the two techniques. The earliest dated Persian piece with lustre is from 1179.
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The First Universalist Church occupies a lot southwest of the city's downtown business district. It is a large brick Gothic Revival structure, with a polychrome slate roof, with walls trimmed in stone and wood. The sides and corners of the building are buttressed. Its main facade is oriented eastward toward Pleasant Street, and has a three-stage tower attached to the southern edge.
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500–900 AD) at the Monagrillo archaeological site, and their beautiful Gran Coclé style polychrome pottery. The monumental monolithic sculptures at the Barriles (Chiriqui) site are also important traces of these ancient isthmian cultures. Before Europeans arrived Panama was widely settled by Chibchan, Chocoan, and Cueva peoples. The largest group were the Cueva (whose specific language affiliation is poorly documented).
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These civilizations were also known for their architecture and wood sculpture. Between the 9th century BCE and the 2nd century CE, the Paracas Cavernas and Paracas Necropolis cultures developed on the south coast of Peru. Paracas Cavernas produced complex polychrome and monochrome ceramics with religious representations. Burials from the Paracas Necropolis also yielded complex textiles, many produced with sophisticated geometric patterns.
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The trilobed entrance arch of the wakala is decorated with muqarnas as well. The polychrome facade has faded with age, but is still visible. A mashrabiya window can be seen on top of the entrance of the sabil- kuttab, but it is likely not part of the original structure. The sabil is richly decorated, as was common of Cairene sabils.
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Chinese printers were able to produce illustrations of various colors, displaying various shades of colors and contrasting colors, imitating the hands of Chinese masters of calligraphy and painting. At the time, the artists' printers discovered and developed this technology, adding a strong color to their books Lin, H. (2015). Coloring the Book in Ming-Qing China: Polychrome Woodblock Printing, ca. 1600-1900 1.
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The Museum of Islamic Art (Musée d'Art Islamique) is a blue-coloured building in the Marjorelle Gardens. The private museum was created by Yves Saint Laurent and Pierre Bergé in the home of Jacques Majorelle, who had his art studio there. Recently renovated, its small exhibition rooms have displays of Islamic artifacts and decorations including Irke pottery, polychrome plates, jewellery, and antique doors.
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The interior is decorated with polychrome marbles by Dionisio Lazzari. The black and white pavement decoration is similar to that in the church of San Gregorio Armeno. The apse frescoes are by Cesare Fracanzano, while two angels in the tympanum were sculpted by Paolo Benaglia. Within the church is a large chapel called the Cappella della Scala Santa (Chapel of the Holy Stair).
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Among the altarpieces in the chapels are paintings by Gaetano Gandolfi (Martyrdom of St Lawrence); Giovanni Andrea Donducci (Christ consigns keys to St Peter); Pietro Fancelli; and other artists of the Bolognese Baroque school. The wooden pulpit was guilt in 1578. A Polychrome sculpture of the Madonna Addolorata was completed by Filippo Scandellari. The organ dates to the mid-19th century.
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Further on, the road splits into seven paths. They take the seventh one and soon find themselves lost in what appears to be another dimension. The trio meets Button-Bright, a cute and wealthy little boy in a sailor's outfit who is always getting lost. Later, the companions encounter Polychrome, the beautiful and ethereal Daughter of the Rainbow who is stranded on earth.
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The station was built in an English Cottage style. It features polychrome brick, metal casement windows, a stone-arched doorway, half-timbered gables, and rustic posts and bracings on the drive-thru. The domestic character of the building was typical for filling stations built in the same era. The filling station was listed on the National Register of Historic Places in 1984.
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Huaca Cao Viejo is famous for its polychrome reliefs and mural paintings, and the discovery of the Señora de Cao, whose remains are currently the earliest evidence for a female ruler in Peru. Both appeared in National Geographic magazine in July 2004 and June 2006. The site officially opened to the public in May 2006, and a museum exhibition was proposed for 2007.
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S & W Cafeteria, also known as Dale's Cafeteria, is a historic S & W Cafeteria building located at Asheville, Buncombe County, North Carolina. It was designed by architect Douglas Ellington and built in 1929. It is a three- story, brick building in the Art Deco style. The front facade is sheathed in grey ashlar and features polychrome ornamentation and exotic stylistic motifs.
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Hill and temple were completed in 1836. Ten Ionic columns support a shallow copper covered dome; palmettes adorn the sima. A particular feature of the Monopteros is the use of polychrome stone painting, an interest of Klenze at the time, who intended the building to serve as a model for its use.Dombart (1972), 167-70; Schmid (1989), 62-3; C. Karnehm in v.
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Henry Blosser House is a historic home located near Malta Bend, Saline County, Missouri. It was built in 1880, and is a three-story, Second Empire style red- orange brick farmhouse. It features a projecting central pavilion, a bell-cast mansard roof, polychrome shingles, and decorative porches. Also on the property are two contributing outbuildings and a three-level frame barn.
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The history of acquisition and ownership is unknown and unpublished by the Louvre or Parisian authorities. The image was acquired from a private collector in September 2009 by the Louvre Endowment Fund. It underwent polychrome study, xylology inspection, and radiography to confirm its age and colonial style of authenticity. The image is housed in the Louvre Museum under the Department of Sculptures.
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The entire site has been largely unmarred by the construction of any other unsympathetic developments. The reservoir catchment continues to provide a pleasant rural curtilage to the complex. The pumphouse, chimney and boiler house are finely executed polychrome brick structures which feature a degree of uniformity in materials, form and scale that is typical of many 19th century public buildings.
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Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.
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This was used to replace the previous Integris software. During the acquisition of Creo, Kodak Polychrome Graphics (KPG) had their own proofing solution for inkjet printers known as MATCHPRINT ProofPro, but Kodak decided to replace it with the Veris derived software instead. The trademark MATCHPRINT came from the Imation analog and thermal proofing media. KPG bought Imation, KPG and Creo.
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The difference between the two phases has been based on the recovery of Gobernador Polychrome ceramic shards from reliably dated sites, and the presence of pueblitos. In response to pressures from the Spanish and Utes, the Navajo population began moving toward the south and west around 1750. By about 1800 they had abandoned or left the heartland of the Dinétah region.
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In addition there are ten windows, placed above the lower part of the dome. The window gaps, placed in two vertical. The mosque structure is built entirely in the Classical Ottoman Architectural tradition. The minbar or the pulpit in the mosque, is a unique special feature from where the imam addresses prayer meetings, which is embellished with kalem işi, polychrome wall paintings.
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The entrance is through the base of the tower. The interior is of polychrome brick, with arcades and chancel arch built of stone, and a braced nave roof. The east windows by A. Gibbs are original, being dated 1877; they depict St John, St Peter and the Good Shepherd. There has been some recent adaptation of the interior for liturgical purposes.
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Golden Arch at Louis Sullivan's Transportation Building Louis Sullivan's polychrome proto-Modern Transportation Building was an outstanding exception to the prevailing style, as he tried to develop an organic American form. Years later, in 1922, he wrote that the classical style of the White City had set back modern American architecture by forty years.Sullivan, Louis (1924). Autobiography of an Idea.
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Under the organ is the baptismal font. From the main altarpiece dedicated to the Assumption of Mary, from the 17th century, made between 1650 and 1657 by Martin de la Almunia and Bernardo Ibáñez and polychrome by Juan de Lobera and his sons Jusepe and Francisco, the central image of the Virgin that came from the Monastery of Santa María de Huerta, of the century XVIII by which it had originally and that conserved in the sacristy. In the restoration of 2012 were found in this church the oldest Mudejar paintings of Aragon. On the choir is preserved a polychrome gothic Christ of the end of century XIV of excellent invoice, of which the four evangelists who were probably at each end of the cross have been lost and that in the origins of the church would be presiding over the temple.
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Reed's buildings represent an impressive body of work, in a range of then popular styles, each one a fine essay in the chosen idiom. He could design in Neoclassical, Renaissance Revival, Gothic Revival, Italianate, Baroque, French Second Empire, Romanesque and Queen Anne, and of course as typical for 19th century architects, designs that blended more than one historical style. Following a visit to Europe in 1863 he experienced first hand the late medieval brick architecture of Lombardy, the source for the bold polychrome brick Gothic Revival already popular in England, which he soon expressed in his designs for the Independent Church on Collins Street, St Jude's in Carlton, and Frederick T. Sargood's Rippon Lea Estate at Elsternwick. These works were the first expression of polychrome brick medieval Italian in Victoria, which by the 1880s had gained enormous popularity.
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Watt and Ford, 81–82 From about 1400, the "brocade-ground" patterns already used for floors and sky in scenes of figures in a landscape were also used in depicting plant designs, both on the backgrounds and on the leaves or fruits of the plants themselves, "a curious development". More logically, they were also used for the background of non-representational designs such as characters of Chinese script.Watt and Ford, 105 Though sometimes used earlier,"Cinnabar polychrome carved lacquer dish, Yuan dynasty, 14th century, China", A&J; Speelman polychrome carved lacquer in a variety of the tixi technique was only prominent during the period between the Jiajing Emperor and Wanli Emperor (1521–1620). This involved carving different parts of the image down to expose a layer in a different colour, so building up a coloured image.
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Near the entrance there is also an ancient organ, the oldest still active in Portugal, dated from circa 1544 and executed by Heitor Lobo. On the left side of the entrance stands the small baptistery with a fresco depicting the Baptism of Christ, 18th century azulejos and 16th century Manueline wrought- iron railings. In the middle of the central nave there is a large Baroque altar with a polychrome Gothic statue of a pregnant Virgin Mary (Nossa Senhora do O) (15th century); facing the Virgin there is a polychrome Renaissance statue of the Archangel Gabriel, attributed to Olivier of Ghent (16th century). The main chapel was totally rebuilt between 1718 and 1746, a work sponsored by King John V. The architect in charge was João Frederico Ludovice, a German who was royal architect and who had previously designed the Monastery of Mafra.
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This room has a series of polychrome stencils of "Japanese" figures and birds applied as a frieze. The residential buildings are separated from the working buildings by a timber picket fence. There are three sheds surrounding a yard area to the rear of the kitchen building. The shed on the southern side of the yard has a pole frame and a hipped roof clad in corrugated iron.
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The exterior of the synagogue is covered in polychrome, rough-cast brick. Classical entablature and galvanized iron cornice top the building. The building sits on a raised basement and the three doorways into the sanctuary are reached by a set of concrete steps. Inset panels of the Star of David and the tablets of the Ten Commandments inscribed in Hebrew are located above the doors.
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The centre is staffed by scientific personnel devoted to preventive conservation and chemical laboratory work, and by a team of curators and restorers specialising in various disciplines, in accordance with the types of works that form the museum collections: restoration of paint on canvas and transferred painted murals; paint on wooden panels; polychrome wood sculpture; furniture; artwork on paper and photography; and stone, metal and ceramic.
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Govurqala is a name shared by four archaeological sites in Azerbaijan, located in Nakhchivan. Govurqala here is 35 km north-west from Nakhchivan, on the left bank of Araz. Inhabited place is dated back to the Bronze Age (3rd–2nd century BC), the area is over 5 ha. During the 1936 and 1967–75 excavations different stone tools, monochrome and polychrome ceramics, stone tombs etc.
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The interior layout has a Latin cross plan, with three smaller chapels on each side. The nave and cupola was decorated by Pier Simone Fanelli, who painted saints and prophets in the spandrels. The main altar (1776) was built with polychrome marble by Cosimo Morelli.TUMA website, Tourism website for the province of Macerata, sponsored by the Fondazione of the Cassa di Risparmio of the Province of Macerata.
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In collaboration with Amédée Ozenfant he established the Académie Moderne, a free school where he taught from 1924, with Alexandra Exter and Marie Laurencin. He produced the first of his "mural paintings", influenced by Le Corbusier's theories, in 1925. Intended to be incorporated into polychrome architecture, they are among his most abstract paintings, featuring flat areas of color that appear to advance or recede.Eliel 2001, p. 58.
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The church site was formerly that of a Benedictine abbey. Between 1776 and 1784 the church was completely rebuilt in Neoclassical style, with the exception of the 15th-century campanile, by the architect Cosimo Morelli. It has a tall central façade with monumental columns supporting a triangular tympanum. The interior contains three naves with polychrome altars, made of marble and scagliola, designed by Nicola Vici.
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The alternating stone and brick rings of the dome over the at the Abbey of San Galgano are unusual but may be part of Tuscan decorative polychrome banding. It was built in the 1180s as a commemorative chapel with a hemispherical dome over a cylindrical rotunda and the top 16 rings are all in brick, giving the impression of an oculus at the top of the dome.
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Byzantine style Granary. A notable feature of Bristol's architecture is the Bristol Byzantine style. Characterised by complicated polychrome brick and decorative arches, this style was used in the construction of factories, warehouses and municipal buildings built in the Victorian era. Surviving examples include the Colston Hall, the Granary on Welsh Back, and the Gloucester Road Carriage Works, along with some of the buildings around Victoria Street.
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The interior also features high-quality period woodwork, including an especially elaborate main staircase, as well as eight fireplaces featuring polychrome tiles. with The house was built in 1889 for Edwin and Mary Harrington, both originally from Stockbridge. Harrington was a successful businessman who had had a successful career in Philadelphia. This house was built by a local contractor; its architect is not known.
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From 1959, it was decided to no longer use these decorations, so that everyone could see the complete Romanesque statue. Originally, the sculpted clothes of the Virgin had a Romanesque polychrome decoration and her face was pale brown. In the 16th or 17th century, the statue was painted black, for an unknown reason. In 1945, this layer of paint was removed, revealing the original colours.
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The bell tower, built in 1340-1348, has an octagonal plan. It is in Gothic style. The presbytery houses the sepulchre of Violant of Hungary, wife of King James I of Aragon, who died in 1251 and whose remains were brought here in 1275. To the right of the choir is the Corpus Christi Chapel, which has a polychrome stone image of Mary, work of Guillem Seguer.
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In 1935, Frans Blom and Jens Yde conducted an excavation of a large mound at Los Naranjos. They found a large collection of polychrome pottery. They believed the large mound, which was one of many, was a burial mound because the bowls and pots they found were deliberately buried there. J.B. Edwards, a former Harvard botanist, helped Blom and Yde in their exploration of the site.
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Various antiquities found at the site include jade figurines, clay pottery and a jadeite hand axe, many of which suggest relation to Olmec origin. Clay pottery included findings of polychrome, monochrome and Ulua bichrome coloration. Each varying coloration seems to have existed in different periods. The stratigraphy, or way that strata separate periods, suggests that the region had been occupied for a long period.
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The oldest layers of strata contained monochrome pottery with little or no design. Sherds of pottery in the nearby La Sierra site seem to have direct ties with the pottery of Los Naranjos in the Late Classic period. Newer layers of strata showed polychrome pottery that was more advanced. Most of the pottery found in the region was made locally, although some may have been traded for.
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" The highly polished walnut furniture, the travertine marble floors, the colorful Harding murals and the polychrome chandeliers created a mood in which one could "visualize the glories of old Spain. The official opening took place on the evening of September 13th. Reservations had been made in advance, but when the guest list hit 700, others had to be turned away. At 6:30 p.m.
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Coclé pedestal dish: Joaquín Polychrome, AD 600-800. The opposed figures are thought to be a shaman in magical flight, as a bat. Collections of Walters Art Museum Peabody Museum, Harvard University. Turtle pendant, Playa de Venado, 500-1300 CE, shell, Dumbarton Oaks Museum, Washington, DC Gran Coclé is an archaeological culture area of the so-called Intermediate Area in pre- Columbian Central America.
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The canvas by Stanzione of the Transit of St Joseph remains in the last chapel on right. Vaccaro painted a canvas of St Anthony of Padua in the church. The polychrome marble altar was designed by Giovan Battista Nauclerio and completed by Giuseppe de Filippo. On the counterfacade is a marble tomb (1703) of the Prince Piombini, by Giacomo Colombo, using designs by Francesco Solimena.
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Detached Second Empire commercial buildings are not common in urban or suburban settings; the Bain building's development as such testifies to the minimal development of the Channingville area, particularly as it is some distance from the creek and the village's downtown. Its detachment made possible the more sophisticated applications of the style, such as the roofline, skewed upper window placement and polychrome slate roof.
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A portion of the output was exported, mainly to North America and the Caribbean. The factories produced a great variety of wares and some figures. However the main production was underglaze blue and white porcelain with the fashionable Oriental designs, which Liverpool delftware painters were already well used to. Some transfer-printed wares, both overglaze and underglaze, were made as well as polychrome overglaze "enamelled" decorated pieces.
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The cathedral's interior surfaces were sheathed with polychrome marbles, green and white with purple porphyry, and gold mosaics. The exterior was clad in stucco tinted yellow and red during restorations in the 19th century at the direction of the Fossati architects. Justinian chose geometer and engineer Isidore of Miletus and mathematician Anthemius of Tralles as architects. The construction is described by Procopius's On Buildings (, ).
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About 300 pieces are known. They had developed from white-ground hydriai, which were earlier also considered part of the type. Painting was applied with dark glaze, in the early period some vases were painted in polychrome. Originally, scholars considered the vases a local Graeco-Egyptian project, but recent scientific studies have shown that they originate from Central Crete, where the majority were produced.
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At Bonampak in Chiapas, a mirror was interred at the feet of the deceased. In all these cases it is likely that the mirror was installed in the tomb in order to open a supernatural location within it.Fitzsimmons 2009, p.97. Among the Classic Maya, mirrors were considered to be used jointly by gods and mortals, as evidenced by scenes painted on polychrome ceramic vases.
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Based on dates from the goldwork and polychrome ceramics found at the site, its use is dated from approximately AD 450–900. While the site has remained untouched since the final excavations in 1940, its mortuary remains are considered to be a critical resource to archaeologists, as they aid in the interpretation of the social dynamics in the region between AD 500 and 1500.
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The house is a 2 1/2-story, brick Classical Revival style building on a sandstone foundation. It was originally built in the Greek Revival style. The front facade features a full 2 1/2-story, pedimented portico supported by Ionic order columns which was added during the 1909 remodeling. The exterior surface of polychrome Flemish bond brick was also added at this time.
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The factory used the petit feu technique of decorating, with successive firings, which let it obtain a variety of colors that rivaled those of porcelain. This factory became well known for its naturalistic polychrome decorations of flowers and insects. Around 1764 the factory introduced a turquoise enamel. Some of the wares were decorated with fish and shells, seaside scenes and views of the port of Marseille.
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Production was characterized by a wide variety of shapes and designs, often extravagant in molding and decoration. Types of decoration are very varied: polychrome on a yellow enamel, imitation Chinese decoration, decoration with fish, landscapes, animals, flowers, decor with green shades. The factory is known for its large soup tureens, which often were decorated with paintings of fish. Statuettes and fancy goods were also produced.
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Andrew Spicer (Ed.), Lutheran Churches in Early Modern Europe (Farnham 2012) p.378 In the 18th century, by the decision of vicar Jacek Augustyn Łopacki, the interior was rebuilt in the late Baroque style. The author of this work was Francesco Placidi. All 26 altars, equipment, furniture, benches and paintings were replaced and the walls were decorated with polychrome, the work of Andrzej Radwański.
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Certain shapes of tiles, most obviously rectangles, can be replicated to cover a surface with no gaps. These shapes are said to tessellate (from the Latin tessella, 'tile') and such a tiling is called a tessellation. Geometric patterns of some Islamic polychrome decorative tilings are rather complicated (see Islamic geometric patterns and, in particular, Girih tiles), even up to supposedly quaziperiodic ones, similar to Penrose tilings.
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Some modern scholars believe the Sumerian deluge story corresponds to localized river flooding at Shuruppak (modern Tell Fara, Iraq) and various other cities as far north as Kish, as revealed by a layer of riverine sediments, radiocarbon dated to c. 2900 BCE, which interrupt the continuity of settlement. Polychrome pottery from the Jemdet Nasr period (c. 3000–2900 BCE) was discovered immediately below this Shuruppak flood stratum.
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Top of main portal Cryptic inscription on façade Church interior The first pilaster has an ancient degraded fresco of Saint Lucy. The pulpit is carved with scenes from both the Old and New Testaments, and two support columns have lion bases. One of the scenes is an Annunciation, another the Nativity. A polychrome wood statue of the patron saint, Saint Christopher (Cristofano), stands behind the main altar.
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Depictions of bejewelled female heads are also common. The CA painter was polychrome but tended to use much white for architecture and female figures. His successors were not fully able to maintain his quality, leading to a rapid demise, terminating with the end of Campanian vase painting around 300 BC. Hermes pursuing a woman, bell krater by the Dolon Painter, circa 390/80 BC. Paris: Louvre.
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The front of the building, facing Oranienburger Straße, is polychrome brickwork, richly ornamented with sculpted bricks and terracotta, accented by coloured glazed bricks. Beyond the entrance, the building's alignment changes to mesh with pre-existing structures. The synagogue's main dome, with its gilded ribs, is an eye-catching landmark. The central dome is flanked by two smaller pavilion-like domes on the two side-wings.
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Italian silk polychrome damasks, 14th century. Damask (; ) is a reversible figured fabric of silk, wool, linen, cotton, or synthetic fibers, with a pattern formed by weaving. Damasks are woven with one warp yarn and one weft yarn, usually with the pattern in warp-faced satin weave and the ground in weft-faced or sateen weave. Twill damasks include a twill-woven ground or pattern.
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"Damas" etymology (in French). By the 14th century, damasks were being woven on draw looms in Italy. From the 14th to 16th century, most damasks were woven in one colour with a glossy warp-faced satin pattern against a duller ground. Two-colour damasks had contrasting colour warps and wefts, and polychrome damasks added gold and other metallic threads or additional colours as supplemental brocading wefts.
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Western-Han painted ceramic figurines (with polychrome) of servants in attendance, from Shaanxi, 2nd century BCE Commoners known as guests and retainers (binke 賓客) who lived on the property of a host in exchange for services had existed since the Warring States period.Ch'ü (1972), 127-128. Retainers often originally belonged to other social groups, and sometimes they were fugitives seeking shelter from authorities.Ch'ü (1972), 128.
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This garden was planted as a "natural" landscape with trees and shrubs, and with a pond and stream. It also had colonnades on at least one side. Decoration of the palace was elaborate, including wall paintings, stucco mouldings and opus sectile, marble polychrome panels examples of which are in the museum. As in the proto- palace, foreign craftsmen had to be employed at this early period.
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The facade is mostly designed with brick walls and limestone trim. The base of the facade is ornamented with two bronze entrances and multiple mythological figures, while the top contains a "tower" with Mesopotamian bas-reliefs and faience tiles. Other multicolored details such as ornamental friezes ornament the facade. The Middle Eastern design motifs are also used in the lobby, which contains a polychrome vaulted ceiling.
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St. Stephen's Episcopal Church is a historic Episcopal church at 1 Grove Street in Schuylerville, Saratoga County, New York. It was built in 1868 and is a cruciform plan church building in the Gothic Revival style. It is built of quarry faced stone block laid in random ashlar. It features a steeply pitched gable roof and polygonal steeple, both covered in ornate polychrome slate.
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The building is an accomplished example of the nineteenth century architectural style, Gothic Revival, as applied to an academic building. The steeply pitched roofs; siting; Gothic detailing including pointed arched openings and polychrome masonry detailing; and massing of the building contribute to Gothic Revival styling. The building is characteristic of Grammar Schools throughout Queensland constructed in this style. The place is important because of its aesthetic significance.
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The former Grace United Methodist Church is in downtown Keene, a short way north of Central Square on the west side of Court Street. It is a large brick building with Gothic Revival styling. It has a gabled roof, with buttressing along the sides and at the corners. A tower with a tall spire rises from the right front corner, with a polychrome slate finish.
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Although the parapets and towers that originally graced the roofline have long been removed, the brownstone windowsills, polychrome tile, soft brick, and cast iron columns survive. The Orschels' landmark business catered to local cowboys at this location until 1940. The brothers let cowboys keep their trunks on the upper floor until they came to town to change clothes. Inside, the original tin ceiling remains intact.
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Riverside Methodist Church and Parsonage is a historic Methodist church and parsonage on Charles and Orchard Streets in Rhinecliff, Dutchess County in the U.S. state of New York. The church was built about 1859 and the parsonage about 1888. The church is a small, two-story, rectangular stone building in the Gothic Revival style. It features a steeply pitched gable roof covered in polychrome slate.
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Nome deities and personified agricultural estates marching into the mortuary temple of Sahure with offerings Sahure's mortuary temple was extensively decorated with an estimated of fine reliefs. This extensive decoration seems to have been completed within Sahure's lifetime. The walls of the entire -long causeway were also covered with polychrome bas-reliefs. Miroslav Bárta describes the reliefs as "the largest collection known from the third millennium BCE".
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St. Mark's Episcopal Church is a historic Episcopal church at 69-75 Hudson Avenue in Green Island, Albany County, New York. It was built in 1866–1867 in a Gothic Revival style. It is a rectangular, brick trimmed stone church building with a steeply pitched roof with three steeply pitched dormers, covered in polychrome slate. The front gable features three pointed Gothic windows and a rose window.
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Later, he met Hähnel and became his student. He completed his studies at the Academy of Fine Arts, Vienna, under Viktor Oskar Tilgner, who taught him how to make polychrome figures. His first work in that style (Piper with Monkey) was acquired by the National Gallery in 1889. He remained with Tilgner as an employee until 1887, when he opened his own studios in Berlin.
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Martini seems to have been an active supporter of the Futurist movement between 1914 and 1918. He certainly corresponded with Umberto Boccioni and produced a modernist booklet in 1918.Günter Berghaus, International futurism in arts and literature, Walter de Gruyter, 2000, p. 475. His early works show an archaic tendency, two- dimensionality and polychrome effectsGloria Fossi, Marco Bussagli, Italian Art, Giunti Editore, 2004, p. 556.
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Victorian Romanesque church built in polychrome brick, red with blond patterning on the exterior, and the reverse, blond with red detailing on the interior. The cruciform plan of the church is extended vertically through the spirelet over the crossing. The church is oriented east-west, with the main entry at the western end through an attached porch (exonarthex). A secondary entrance is through the north transept.
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The hall has been built in several stages, with each stage being designed to complement the church. Generally, the building is of polychrome brickwork, red with blond trim, with a terra cotta Marseilles pattern tiled roof, hipped in form with skillion additions. A gabled entrance porch has been added to the west elevation. Windows are double hung with semicircular heads and contrasting brick quoins and sills.
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Pieces bearing his name, together with the mark of Cornelis de Berg, are dated 1731, and consist of figure subjects, often in blue, but occasionally in polychrome. He was the father of the painter, draftsman, and tile painter Jan Aelmis (II) (1714 – 1799) and the painter and draftsman Johan Bartolomeus Aelmis (1723 – 1786). The signed pieces can therefore also be those of his elder son.
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The church was built between 1764 and 1776 with designs by Benedetto Alfieri. The interior was decorated in 1870 by Francesco Toscano. It conserves a polychrome altar including one from the Benedictine Monastery, now merely ruins, which gave the town its name. It contains a 17th-century altarpiece depicting the Virgin, Child, and Saints Peter and Paul, and an Annunciation by the brothers Toscano.
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The church was erected between 1703 and 1727 using designs by Rosario Gagliardi. The interior has three naves with polychrome marble side altars. The interior has a rich stucco decoration. The third altar to the left depicts a sculpted crucifixion with scenes of the Passion. Others depict a St Dominic receiving the Holy Spirit and a Madonna of the Rosary (1712) by Vito D’Anna.
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Ceramics were typically polychrome and frequently depicted food and animals. Conchopata appears to have been the ceramic center of Wari culture given the high quantities of pottery tools, firing rooms, pit kilns, potsherds, and ceramic molds. In one of the D shaped temples at Conchopata, there were large smashed chicha vessels on the floor and human heads placed as offerings as a form of human sacrifice.
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The largest jedar at Ternaten is the only one in that group sufficiently intact to display epigraphy and iconography. It contained large well-executed polychrome murals (now almost completely weathered away) of religious scenes typical of Mediterranean Christian iconography of the 5th century or later,See LaPorte, 2005, fig. 18 for one of the remaining fragments. indicating that the ruling class had by then become Christian.
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Christ Episcopal Church is a historic Episcopal church located in Marlboro, Ulster County, New York. The church was designed by architect Richard Upjohn and built in 1858 in the Gothic Revival style. It is built of dark red brick with contrasting brownstone detailing. It features a square entry tower and polygonal apse with steeply pitched roofs, with polychrome slate shingles on the main section.
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The present church was erected in 1757 to replace an older church. The main altar (1788), made of polychrome marble, shelters the main oil canvas altarpiece depicting Saint Helen adoring the Cross by Francesco Lorenzi. This painting is flanked by canvases: Christ and the Aldulterous Woman (17th-century) attributed to LonardiPresumably Giuseppe Lonardi., and a Susannah and the Elders before the Judges (18th- century).
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Jenyns had a tomb prepared for himself in the 'Postles Chapel on the south side of the choir of the church. His monument is illustrated in polychrome in the Book of Funerals of Sir Thomas Wriothesley, Garter King of Arms (died 1534).British Library MS 'Add. 45131 f.86 – Sir Stephen Jenyns, d 1524 Lord Mayor of London 1508: Heraldic drawing of his effigy: 16th cent.
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A rail connection between the two stations existed, but for transfer of goods wagons only. There were no through passenger workings. It was closed to passengers by the Great Northern Railway Board on 16 January 1956 and to goods on 5 October 1959. The station building was designed by William Henry Mills in his typical polychrome style, with red and yellow Flemish-bond brickwork.
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His formal language created a rapprochement between the erotic and the fantastic. In his depiction of an underwater world he excelled in the illustration of the phantasmagorical and the grotesque. His technical prowess with glazed figural stoneware remains unparalleled to this day as were his experiments in polychrome glaze work. Paienne cultures as diverse of China and Peru were amongst his many sources of inspiration.
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A number have been lost to floods and collapse; some forty are still extant. Twenty-two decorated caves house 34 polychrome statues and 800 m2 of wall paintings, dating from the Northern Wei to the late-Yuan and early-Ming Dynasties (sixth to fourteenth centuries). The site was included within the 1961 designation of the Mogao Caves as a Major National Historical and Cultural Site.
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These tiles, which are also coloured brown or polychrome besides the conventional blue, are placed on the wall beside the front door or principal gate of a house, and are encased in a black metal frame surmounted by a cross. The tiles can also be seen in Canada, United States, Colonia del Sacramento, Uruguay, Macau, Rio de Janeiro, Brazil, Peru and several cities of Mexico.
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Starting in 1684, the church was reconstructed by the architect Domenico Messi. He also designed the marble façade was begun in 1688. The nave ceiling has frescoes depicting the Scenes from the life of Saints Paul and Benedict (1712–1713) by Giulio Quaglio (presumably Giulio Quaglio the Younger). The polychrome marble altars in the church were constructed (1692–1707) by Antonio and Domenico Corbarelli from Brescia.
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Working with Bishop Jean de Malestroit, he began the construction of a new cathedral in Nantes, placing the first stone in April 1434. He died on 29 August 1442, at the Manoir de la Touche, owned by the Bishop of Nantes. A statue of the Duke of polychrome wood is in the chapel of Saint-Fiacre in Faouët. His tomb in Tréguier cathedral was destroyed.
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The designs on the sherds inspired the artist Nampeyo; sparking the Sikyátki revival in polychrome pottery. Sikyátki, which means "Yellow House" in the Hopi language, according to oral tradition was burned and its population exterminated by the neighboring village of Wálpi. The dispute erupted into violence when a villager from Sikyátki cut off the head of a sister of a man from Wálpi who had offended him.
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Masucci originally planned belfries, but these were not completed, and the current 18th-century campanile was built on the adjacent Palazzo Marchesi. Behind the church, the Jesuit chapter houses the town library. The layout is in the shape of a Latin cross. The nave is 72.10 m long, 42.65 m wide and 70 m high and is decorated with polychrome marbles, stucco and frescoes.
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The vibrant, polychrome glazes made his creations both more durable and expressive. His work is noted for its charm rather than the drama of the work of some of his contemporaries. Two of his famous works are The Nativity () and Madonna and Child (). In stone his most famous work is also his first major commission, the choir gallery, Cantoria in the Florence Cathedral (1431–1438).
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The chapel has fresco and stucco decorations. The second chapel on the right (Janni) is also decorated in a baroque fashion, with a main altarpiece of a painted 17th century crucifix. The first chapel on the left (Marcucci) has a polychrome marble altar with a canvas of The Annunciation by Girolamo Troppa. The Farnese chapel, second on the left, was dedicated to Santa Barbara.
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The "Old Church" was built around the 15th century. Subsequent modifications took place in 1696 and 1763. It has a simple façade, marked by six pilasters with an elegant portal and an oval window with projecting cornices. In its interior are side altars of stone, an altar in polychrome marble, a wood crucifix from the 16th century and an 1809 painting made by Domenico Carella.
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The interior has a number of carved wooden polychrome statues mainly by Juan de Gea and Ignacio Castell. The main retablo was also designed and carved by these artists, and gilded by Francisco and Gregorio Sánchez, with paintings with stories of the New Testament by Bautista Suñer.Parish of Peñas de San Pedro, entry on church. It was declared Bien de Interés Cultural in 1978.
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Polychrome roof of the Hospices de Beaune. The Hôtel- Dieu was founded on 4 August 1443, when Burgundy was ruled by Duke Philip the Good. The Hundred Years' War had recently been brought to a close by the signing of the Treaty of Arras in 1435. Massacres, however, continued with marauding bands (écorcheurs) still roaming the countryside, pillaging and destroying, provoking misery and famine.
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The Late Classic occupants however, were noted scribes and artists. The area of the Mirador Basin is the only known source of the "codex-style ceramics", a particularly fine polychrome ceramic consisting of black line drawings on a cream colored background. The Late Classic occupation was brief, and by about 900 CE, the area was again nearly completely abandoned, and remains so until the present time.
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Of the 12th-century Romanesque construction, only the bell-tower remains; the present facade and interiors mainly date to a reconstruction in the 18th century. The main altar (18th century) in polychrome marble has statues by Antonio Callegari and altarpiece by Giambettino Cignaroli and a 16th-century Ark of San Tiziano.Tourism office of Brescia, entry on church. Adjacent to the church is a 15th-century cloister.
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In the interior, on the right is visible a spherical shrapnel walled into the external facade during the bombardment of World War II. The polychrome altar has been stripped of some of its sculptural and painted decoration, it retains two 16th century bas-reliefs representing Motherhood. The main altar hosts a large canvas by Francesco Solimena depicting the Glory of Mary with Saints (circa 1705).
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One panel depicts both William of Norwich, holding a hammer and with three nails in his head, and Agatha of Sicily, holding pincers and her severed breast. The other panel depicts Leonard of Noblac (holding manicles) and Catherine of Alexandria, holding a sword and a book. The Layer Monument Marble polychrome mural monument circa 1600. South aisle of the west wall of the church.
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After painting, the pots are fired on open ground or in pit ovens. Two or three small pots may be fired together, but larger ones are fired individually. They are set on a pile of dried cow dung and wood and if fired on open ground, covered with a large overturned pot called a “saggar.” For polychrome pots, air is allowed to circulate inside the firing chamber.
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The Chiesa della Beata Vergine del Carmine e San Rocco is a church in the town of Soragna, Province of Parma, Italy. The church was commissioned in 1661 by the marchese Diofebo III Meli Lupi for the Carmelites. The main altar of polychrome marble has statues of the Madonna del Carmine and child. The interior has an altar with a painted statue of Saint Roch.
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This belonged to the steamer "City of Santander", which sank near Lobos Island in 1829. The Marquess of Comillas, owner of the damaged steamer, saved it from the shipwreck and donated the now respected image. The image was reproduced as the "City of Santander" by Uruguayan painter Carlos María de Santiago. To the left of the Altar is a polychrome image of a suffering Christ.
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Below the picture, there is an embroidered shirt worn by him. A large chest used by Juan Bautista Rivarola, a peculiar toilet, a magnificent prie-dieu and a polychrome niche complete the atmosphere of the room. Oratory Jesuit and Franciscan carvings and diverse religious objects of different origin are exhibited in this room. A portrait of the priest Francisco Xavier Bogarín can also be seen here.
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The Lavers and Barraud Building at 22 Endell Street, together with the attached cast-iron railings, is a Grade II listed building. The polychrome brick and stone building was designed as a studio for the stained-glass firm by R.J. Withers in 1859 in the Gothic style; the gable window on Betterton Street has modern stained glass by Brian Clarke, commissioned by the Crafts Council in 1981.
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It was renovated in the Baroque style in 1772 by Giovanni Antinori. The main attraction is the wooden inlaid choir by Giovanni da Verona, executed in 1503-1505. It is one of the most outstanding examples of tarsia in Europe. The church houses also a canvas by Jacopo Ligozzi (Assumption, 1598), behind the high altar, and a 14th-century polychrome wooden Crucifix, in the Sacrament Chapel.
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In 1982, Christensen decorated Hjortespring Library with 25 elements in stoneware and acrylics depicting the increasing threat to the survival of whales and other endangered animals, the largest item being a blueish black whale. Kristensen has also decorated the waiting room at Aalborg Station (1988) with 18 brightly coloured acrylic plates and, in 1992, completed 30 polychrome glass panels for the ceiling at Køge Waterpark.
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Cavagnago was part of the parish of Giornico, until it seceded in 1585, to form, with Sobrio, an independent parish. 1611 Sobrio parted from this parish. The Parish Church of St. Anna was first mentioned in 1567 and was renovated in 1934. It has a remarkable high altar in polychrome marble in the Milanese style and Roman style frontal crafted in the Scaglia style.
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Some of the most prestigious workshops are in Dolores Hidalgo, where it is said that Father Hidalgo introduced the craft. The clay used for mayolica pottery in the state is also mined near here. Most of the traditional designs are present in this work, especially the typical floral decoration, polychrome over a white background, often with reds and greens. However, there is evidence of industrialization.
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Trialeti-Vanadzor painted monochrome and polychrome pottery is very similar to that in the other areas of the Near East. In particular, similar ceramics are known as Urmia ware (named after Lake Urmia in Iran). Also, similar pottery was produced by the Uzarlik culture, and the Karmirberd-Sevan culture. The site at Trialeti was originally excavated in 1936–1940 in advance of a hydroelectric scheme, when forty-six barrows were uncovered.
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Next to the Main Altar is a canvas depicting the Blessed Franco by Rutilio Manetti and a St Teresa of Avila by Stefano Volpi. The main altar with polychrome marble was designed by Tommaso Redi. The Sacristy (1512) was designed by Vannoccio Biringucci, and has a St Sigismondo in terra cotta by Giacomo Cozzarelli (1515). The cloister was completed in the 16th century and was frescoed by Giuseppe Nasini.
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The interior has a three naves separated by square pillars with pilasters which rest on rounded arches. The interior was decorated in the 18th and 19th centuries. The nave has a barrel vault with lunettes, a deep chancel raised and a semicircular apse. The altar (1762) with polychrome marble contains a sculptural group by Francesco Maria Schiaffino depicting the Virgin Mary with cherubs holding up the Holy House of Nazareth.
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Based on the Köppen climate classification, Polychrome Mountain is located in a subarctic climate zone with long, cold, snowy winters, and mild summers. Temperatures can drop below −20 °C with wind chill factors below −30 °C. Precipitation runoff from the mountain drains into the Toklat River, which in turn is part of the Tanana River drainage basin. The months May through June offer the most favorable weather for climbing or viewing.
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The church was built in 1767, based on a design of Lazzaro Giosafatti. The church has a single nave, but various side altars. Among the interior artwork is a 15th-century polychrome terracotta Pietà, the reliquary of St Fortunato, a 17th-century organ, a 15th-century God the father sculpted in marble. The sacristy is richly decorated and the ceiling is frescoed with the Life of St Benedict.
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In the nave immediately before the last arch on the right there is a raised pulpit standing on two corbels. It consists of a rectangular enclosure decorated with polychrome marble. The sacristy and the oratory are to the left of the presbytery. Built on the foundations of the old San Carlo church, the oratory is a rectangular room with a cloister vault containing a series of triangular lunettes.
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In the chapel on the right of the presbytery is a painted cross by Segna di Bonaventura (14th century). The wooden pulpit is of the 17th century. Also by Rutilio Manetti are the paintings/sculptures of the Immaculate Conception and the Eternal Father in the chapel to the right of the major one. The high altar, in marble (1626), has a polychrome wooden crucifix by Giovanni Pisano (early 14th century).
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The churchyard had low stone walls with decorative wrought iron railings and gates. Internally the church walls were of pressed brick with moulded capitals to the columns and arches of polychrome brick – reportedly, "a very cheerful effect". Its 740 sittings were provided free. The church occupied the dominant site in Ripley Ville and with the west gable apex 70 ft above street level the external appearance was very impressive.
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One is a polychrome wood sculpture possibly finished in 1492 which had been lost from view by scholars until it re-emerged in 1962; in 2001 new investigations appeared to confirm the attribution to Michelangelo. Crucifix 'confirmed' as a Michelangelo. BBC News, 18 July 2001. Retrieved on 18 May 2009 It was perhaps made for the high altar of the Church of Santa Maria del Santo Spirito in Florence, Italy.
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This piece, titled "Afrodiziak...Aphrozidiaque...Afrosisiaque", also included several life-size, polychrome sculptures inspired by portraits of Europeans made by African artists during the colonial period. The work arose in response to the creation of the African Union in 2002, and is a representation of African relationships with Europe before and after the 19th Century. In 2015, Pascale Marthine Tayou had his first solo show in London at the Serpentine Galleries.
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In the foundations of the church, some of the construction of the original temple can be seen. On the side of the church is a small archeological area. Inside there are traces of 16th century decoration with pre-Hispanic motifs. The interior is also notable for a large number of colonial-era santos or statues of saints, many executed in fine polychrome that is well preserved to the present day.
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Linn, howevever, did not graduate from Iowa State as he transferred to the University of Illinois where he graduated with a degree in architectural engineering in 1923. Completed in 1930, the 2½-story, French Renaissance-style building features brick and half-timbering wall surfaces, and a complex roof system that includes steep pitches and polychrome slate. It was listed on the National Register of Historic Places in 2010.
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The palace was commissioned in the second half of the 16th century at the site of an older palace by the aristocratic Tiepolo family. The facade was once frescoed by Andrea Schiavone; traces remain. The entry was frescoed by Jacopo Guarana and the interiors are decorated with polychrome stucco.Content in this edit is translated from the existing Italian Wikipedia article at :it:Palazzo Tiepolo; see its history for attribution.
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Once that had happened, floral and other ornaments became very popular. There was experimentation with polychrome effects (adding red and white paint), and to a more limited extent with figural motifs (animals and humans). Influences came from Attica and East Greece, rather than from the actual centre of the orientalising style, Corinth. In the early 7th century BC, several highly innovative groups of potters/painters were active in the Cyclades.
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The most common motifs are naiskos and grave scenes, dionysiac scenes and symposia. Depictions of bejewelled female heads are also common. The CA painter was polychrome but tended to use much white for architecture and female figures. His successors, the CB Painter and CC Painter were not fully able to maintain his quality, leading to a rapid demise, terminating with the end of Campanian vase painting around 300 BC.
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The house was built in 1859–62 for Frederick Gough, 4th Baron Calthorpe. It was designed by Samuel Sanders Teulon, who was noted for his polychrome brickwork. It is built of red brick and stone dressing, with bands and decoration in black brick. It is an ornate design with hipped and mansard roofs with gables and dormers, tall brick chimneys and an entrance front dominated by a tall tower.
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Around 1749 a new period of faience manufacture began in which the first factory was established by Honore Savy in which polychrome decoration succeeded the earlier style using blue with some violet. A letter of 27 September 1765 to M. Bertin described Savy as a master of fayance fabrication for fifteen years. In 1765 Honoré Savy applied for permission to start making porcelain. The minister, Bertin, was discouraging.
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All openings other than the rectangular windows of the two mezzanines have round arches and balconies, with marble keystones in the arches decorated with bold and expressive heads. The overall effect is simple and elegant. The interior was decorated with high quality stucco and with framed paintings by Antonio Zanchi, Luca da Reggio and Pietro Liberi. Many of the rooms had magnificent ceilings with beams decorated in gilt and polychrome motifs.
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The Hans Wilsdorf Foundation contributed 2.8 million for the refurbishment of the ground floor hall and the auditorium. In the hall, an original polychrome marble floor was brought to light after being hidden under red wall-to-wall carpeting. The house seats were fitted with wooden backs and onto a new wooden parquet floor. The safety curtain and the ceiling were stripped of asbestos and the stage floor completely redone.
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The Odd Fellows' Hall in Beverly, Massachusetts occupies a prominent location on Cabot Street opposite city hall in Beverly Center. It is a 3.5 story High Gothic Revival building constructed in 1893 to a design by local architect J. Foster Ober. Its exterior is clad in brick with trim of granite and brownstone. Its roof is a cross gable style, steep roof with polychrome bands of slate tiles.
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Kalozha Church The Kalozha church of Sts. Boris and Gleb (Belarusian: Каложская царква, Царква Св. Барыса і Глеба) is the oldest extant structure in Grodno, Belarus. It is the only surviving monument of ancient Black Ruthenian architecture, distinguished from other Orthodox churches by prolific use of polychrome faceted stones of blue, green or red tint which could be arranged to form crosses or other figures on the wall.
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The village is a center of Kurpiowski folk art with a 19th-century wooden church that has a polychrome interior. Mass is held in this church only on special occasions; regular mass has been held in the nearby modern church, Chrystusa Króla Wszechświata, since dedication in 2000. The village has the lowest unemployment rate in Ostrołęka County, due in no small part to the local meat packing industry.
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That building, at the corner of Highland and Emwilton, was designed by Ebenezer Roberts, architect of several Manhattan churches, and Lawrence P. Valk. The Ossining Methodist church is distinct from Roberts' earlier, more Gothic, churches (all subsequently demolished). Polychrome bands of stone on the exterior, and more elaborate detailing, put it within the High Victorian Gothic style. It features an engaged corner tower and transitional Queen Anne and Shingle Style elements.
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The wooden choir stools of the church escaped the earthquake of 1706, and are now conserved in the Civic Museum. The organ, built in 1681, has artwork by Giovan Battista Del Frate and gilding Caldarella di Santo Stefano. In the choir, devoid of its polychrome marble altar are openings, one leading to an original part of the church building with ancient frescoes, the other to the Caldora chapel.Abruzzo region Tourism site.
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Partial view of the apse The large stained-glass quadrifore window in the apse was made between 1328 and 1334 by Giovanni di Bonino, a glass master from Assisi. The design was probably made by Maitani. Above the altar hangs a large polychrome wooden crucifix attributed to Maitani. Construction of the Gothic wooden choir stalls was begun in 1329 by Giovanni Ammannati together with a group of Sienese wood carvers.
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The most remarkable room in the suite is the Mazarin Room. This drawing room is lined with Italian gilded and painted polychrome boiseries by craftsmen brought to France by Cardinal Mazarin, who was related by marriage to the Grimaldi. Cardinal Mazarin's portrait hangs above the fireplace. While the overriding atmosphere of the interior and exterior of the palace is of the 18th century, the palace itself is not.
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During this > phase a service room east of room A, with a floor that was made of leveled > rock, was built. In the area of the cistern, by now filled, a new room > decorated by wall paintings was also built. 4\. A large house occupied the > area during the Late Roman Period. The rooms were constructed using reused > materials, but without the use of mortar, and often enriched by polychrome > mosaics.
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Profiles of Glaze D rims Glaze D bowl rims date between AD 1470 and 1515. In profile, rim exteriors exhibit an inward bend (or close to it). The rims themselves are either fairly consistent in thickness, or taper slightly to both the body and the lip. This rim group has one named type, San Lazaro Glaze Polychrome, which includes red matte paint elements outlined in black glaze paint.
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Early on, potters also learned to make some vessels with contrasting slips--one background color on the inside of the vessel, a different background color on the outside. The options included the red and yellow slip clays used on one-slip vessels, as well as white slip clay probably imported from the west. San Clemente Glaze Polychrome dates from AD 1315 (?--this is probably too early) to 1425.
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The style of Lydos strongly resembles that of older artists, such as the painters of Siana cups, of which he himself painted many. He was the last Attic painter to decorate large vases entirely with polychrome animal friezes in the Corinthian style. His human figures resemble the works of Klitias, and later painters, whose humans appear “wrapped” in cloth. Sometimes they have dotted garments, such as preferred by the Amasis Painter.
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A predominant feature of the interiors is the azulejos: polychrome glazed tiles, often in a chinoiserie style with tones of blues and yellows contrasting with muted reds. Materials for use on the interior included stone imported from Genoa and woods from Brazil, Denmark and Sweden, while coloured marbles were imported from Italy.Lowndes, p. 179 Many of the palace's rooms were severely damaged by fire in 1934, and much was lost.
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The main altar also has a polychrome marble altarpiece of the Circumcision by Innocenzo Monti. By the late 18th century, the expulsion of the Jesuits from the duchy was followed soon after by the Napoleonic invasions. The convent became hospital in 19th century now houses the city library and archives and other offices. The church roof partially fell in after 2012 Northern Italy earthquakes and has been undergoing restoration.
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A two-storey polychrome brick building with four storey campanile in Italian Romanesque Revival style built in 1892 and designed by W. L. Vemon. The facade is of asymmetrical design dominated by the tower. A massive arched opening leads to the posting boxes. Beautifully detailed brickwork and facade is embellished with sandstone royal insignia, various arched openings, string courses and a sandstone plinth, sixteen pane windows and a terracotta tiled roof.
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First Baptist is a late 19th-century interpretation of the Romanesque style inspired by Henry Hobson Richardson known as Richardsonian Romanesque. It combines late Victorian polychrome surface areas with a shingle-style roofline treatment. The sanctuary is nearly square in plan and features a very high hipped roof with blind dormers, corner pavilions, and a three-stage tower. The structure was built of red brick and rough stone.
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The Landi Chapel, commissioned by the prioress Vittoria Landi, is the first chapel on the left. It was decorated by Borromini, and the altarpiece depicts The Holy Trinity with Saint Augustine and Saint Monica by Cavaliere d'Arpino .Melchiorri, page 356. The Chapel of the Blessed Sacrament, the second on the left, contains works attributed to Carlo Maderno: a tabernacle in polychrome marble and gilt bronze and the alabaster statues.
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Known also as the Ceramic Brick House. Originally built in 1887 as a Second Empire-style mansion complete with mansard roof, in 1950 the windows and roof were converted to a more standard gable with dormers. It was also refaced in polychrome glazed brick imported from Leeds. This drastic exterior redesign did not cost the house its historic status as its original framing and interior layout remain intact.
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Two high towers, which narrow at the top and end with elegant helmets, embellish the facade. The architectural forms of the building are highlighted by polychrome. The main facade of the sanctuary is particularly embellished, with prolonged forms, windows, niches and pilasters of the walls create the vertical line and emphasize the height of the forms. The facade is facing the calvary where the steep high steps lead.
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This chapel is commonly believed to be the oldest place of worship dedicated to the martyr."Patron", Almo Collegio Capranica The main chapel of the College, dedicated to St. Agnes, was restored in 1954 in neo-Renaissance style. The walls are covered with polychrome marble and decorated with a double cornice. The semicircular apse contains Antoniazzo Romano's fresco of Madonna with Child, a holy bishop and St. Agnes.
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An oratory with a square layout at the site, owned by the Dominican order, had been present since the 15th century, under the management of the Confraternity of San Girolamo. The Confraternity had existed in Sarzana since 1470. This oratory had a polychrome terra-cotta depicting St Jerome in the Desert, attributed to either the studio of Giovanni Della Robbia or Benedetto Buglioni. This work is now relocated to the cathedral.
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Also, Vasili Yermolin rebuilt the Frolovskiye Gates (today's Spasskiye Gates) in 1462-1464 and decorated them with polychrome reliefs depicting St George and St. Demetrius, protectors of the Muscovite princes. A fragment of the St. George relief is now on display in the State Tretyakov Gallery. The second relief was lost. Judging by the looks of the surviving fragment, both of them represented the finest examples of the old Russian sculpture.
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In addition, a copy of Saint Peter's statue (attributed to Arnolfo di Cambio) is enshrined inside, across a polychrome life-sized statue of the Immaculate Conception. Prior to 1988, the bronze statue of the Immaculate Conception in the main altar, by national Italian sculptor Vincenzo Assenza, was painted gold until 1988 (though the twelve star halo-aureola is solid gold)."Baldacchino Altar (1980s)". Flickr.com. Retrieved on 2012-02-03.
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The Nazca would then apply multicolored slip to achieve polychrome effects before the vessels were fired, an advance over the Paracas, who had painted the vessels with resins after firing. The Nazca technique allowed for much brighter and more permanent colors, whose sheen was enhanced by burnishing after the vessel was fired.Double spout and bridge vessel with hummingbirds, on the Website of the British Museum. Retrieved 11 May 2009.
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The sculptor Aristokles was known to have his signature on several bases, but his only famous work is Stele of Aristion. His name then appears on an Attica inscription found at Hieraka, Cape, Greece. Although the Stele is currently white, this would not have been the case of the Archaic period of Attica. It was not an uncommon practice to add polychrome as a decorative element of marble stele.
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Lane, 1-2 Majolica, maiolica, delftware and faience are among the terms used for common types of tin-glazed pottery. An alternative is lead-glazing, where the basic glaze is transparent; some types of pottery use both.For example polychrome Delftware; Savage, 160 However, when pieces are glazed only with lead, the glaze becomes fluid during firing, and may run or pool. Colours painted on the glaze may also run or blur.
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The main altarpiece in the 19th century depicted the Mystical Marriage of St Catherine by Marcantonio Bonaccorsi. The altar has polychrome marble with columns and a tympanum surmounted by dynamic sculptures, completed by a sculptor of the Bonazza family, as well as Giordano and Damini. The church also had a canvas depicting the Annunciation (1718) by Bartolomeo Moro.Guida per la citta di Padova, by Giannantonio Moschini, page 58-59.
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The building itself is a two-story three-by-five-bay brick structure on a foundation of bluestone and granite quarried at nearby Breakneck Ridge. Its first story is faced in brick; the second in polychrome fishscale shingles. Atop is a six-gabled roof covered in Delaware slate pierced by a brick chimney on the west side. On the first story the foundation is capped with a granite water table.
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The Clarissa Cook Home was designed by Springfield, Massachusetts architect E.C. Gardner, and A.N. Carpenter served as the landscape architect. The building was constructed by local contractor T.M. McClelland. While the building does not follow any particular architectural style it represents the trends that were popular in Victorian America. It has a somewhat medieval appearance, with heavy masonry, a polychrome exterior, numerous gabled pavilions, and a central entrance tower.
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The asylum had its own water towers and a gas works. In 1870, and between 1878 and 1880, additional wings were added and early examples of cavity walling to the ventilation towers. Between 1883 and 1889, an ambitious new chapel was built, seating 500, funded by private patients and also built entirely by the asylum's inmates. The chapel included a multicoloured interior, using strips of polychrome glazed brick.
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Excavations in the northwestern portion of the Acropolis have revealed a series of stucco floors and large amounts of ceramic remains, as well as fragments of worked stone, obsidian, bone and shell. Among the artefacts recovered were three polychrome vessels, two tripod vessels, a flute and a drum. Ceramic remains dated to the Late Classic have been found in all levels of the Acropolis.Emery & Higginbotham 1998, pp.16-18.
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The movie opens with Carter Hayes (Michael Keaton) in bed with a woman, Ann Miller (Beverly D'Angelo). He's suddenly attacked and beaten by two men. After the men have gone, Hayes calmly tells Ann, "The worst is over." The scene shifts to San Francisco, where an unmarried couple, Drake Goodman (Matthew Modine) and Patty Palmer (Melanie Griffith), purchase an expensive 19th-century polychrome house in the exclusive Pacific Heights neighborhood.
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The facade was completed in 1729. The interior of the church was refurbished starting in 1610, and leading a reconsecration in 1727. The main altar (1688) is decorated with polychrome marble was designed by Nazario Ferrari, and displays a stucco Glory of God the Father, Faith and Charity (1688) by Antonio Maria Ravezzani. The main altarpiece is a 17th-century canvas depicting the Ascension attributed to Cesare Tuppi.
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The Edwards and Chapman Building located at 120 Queen Street dates from the Victorian era and was designed by FDG Stanley with ornate Italianate detailing. It consists of three storeys with a basement and an attic level. It has a simple rectangular plan with brick back and side walls and a richly ornamented front. The rear of the building is polychrome brickwork while the front also uses lightly coloured Oamaru limestone.
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Palau Meca 1982 The Palau Meca (Montcada, 19) was built between the 13th and 14th centuries and also underwent restoration during the 18th century. Similar to the other palaces, it contains a central courtyard. Highlights include the medieval polychrome coffered ceilings of the main floor as well as unique ceilings from the 19th century. In 1349, the property was owned by James Knight, then Minister of the City Council.
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The triangular pediment with niches has been recently renovated accentuating its original Gothic character. In the interior, four elegant octahedral pillars support web and star vaults. The high altar holds a painting of St. Nicholas with a silver setting from the 16th century. The church is adorned with two sculptures: a polychrome statue of St. Louis from the Gothic period, and Vytautas' bronze bust erected in 1930 (sculptor Rapolas Jakimavičius).
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The crests of the 13 Colonies, in gilt and polychrome, lined the walls as decorative elements. On the south side of the room, there was a "service pavilion" wide and one story high. A narrow set of stairs gave access to the top of the service pavilion, which was enclosed by a decorative iron railing. The ceiling of the room was decoration with Adams style bas- relief plaster moldings.
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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.
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Burial 4 was interred in a small cist measuring , located under Structure 7\. By the time the cist was excavated it had been practically destroyed by tree roots, scattering the bones. A rough greenstone pendant was associated with the remains, together with a greenstone bead, a tripod plate, a polychrome ceramic bowl and perforated seashells. The burial has been dated to the beginning of the Late Classic period.
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The nave frescoes were originally painted by Raffaele Ferrara in 1853. The cupola (1612) was designed by Giovanni Battista Contini and decorated in polychrome marble by Valadier. The pennants were frescoed with the Evangelists by Giovanni Battista Ricci; the cupola is frescoed with God the father, attributed to Reni. The main altar has four columns of African black marble, and was built in 1616 by designs of Domenico Pozzi.
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The palace is one of the largest historic residences of Lower Silesia, with the main building dating back to 1590. It was expanded several times, most notably in the 18th century when a chapel dedicated to John of Nepomuk was added to the main building, featuring a magnificent polychrome decoration. A summer palace was also redeveloped in the 18th century. The compound features a total of 15 buildings.
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In any case, the majority of templa followed the same basic design. They were usually carved of monochrome marble, though some, like Hagia Sophia’s, were covered in precious metals and others used polychrome marbles. The slabs were often carved with vegetal or animal patterns and the architraves with busts of God, the Virgin, and the saints. Figurative decoration on the templon was mainly concentrated on the architrave, initially with carved busts.
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The Cave of Altamira (; ) is a cave complex, located near the historic town of Santillana del Mar in Cantabria, Spain. It is renowned for prehistoric parietal cave art featuring charcoal drawings and polychrome paintings of contemporary local fauna and human hands. The earliest paintings were applied during the Upper Paleolithic, around 36,000 years ago. The site was discovered in 1868 by Modesto Cubillas and subsequently studied by Marcelino Sanz de Sautuola.
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The sanctuary, while richly decorated at one point is "currently in bad shape". The qibla wall is decorated with the remains of gilded stucco and epigraphic bands, with trees at their center. These trees are one of the only extant naturalistic features in Mamluk architectural decoration. The mihrab is made of polychrome marble and has friezes of small niches with blue-glass colonettes on the side framing its upper edge.
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She works with her husband Joseph who helps her dig clay from the soil near Santa Clara. Her pots are made using the traditional, free hand coiling technique, polishing stones and native clays. Anita makes carved redware and blackware, polychrome redware, black melon pots and carved two-tone black on black pottery. She carves or decorates her pots with water serpents, rain clouds, kiva steps, feathers and other prehistoric stylized designs.
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Winter became known for her polychrome ceramic work, and especially for her use of glaze and color. Her work consistently featured highly stylized human and animal figures. Her style ranged from an expressive Modernism influenced by the Wiener Werkstätte and Cubism to a cartoon-like style for some of the animal figurines. In 1939, she won the prestigious first prize for sculpture at Syracuse Museum of Fine Art’s National Ceramics Exhibition.
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In 1830 it has been completely demolished and rebuilt and it was subsequently seriously damaged by the earthquake in 1917. It hosts a wooden crucifix and a ciborium in polychrome terracotta from the 15th century and a stone pulpit depicting Hercules killing the Hydra from the 16th century. The Church of San Michele Arcangelo (St. Michael the Archangel) is a little outside the center of town, in the hamlet of Padonchia.
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Radiographic examination was used to establish the appearance of the painting before intervention. It showed a vigorous drawing with marked contrasts of light and shadow, allowing an appreciation of the artist and his work. It also identified areas of polychrome wear. The painting had undergone a significant change of format, being cut vertically on the right side, with the addition of a painted canvas strip of 7.5 centimetres (3 in).
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Pump house and smoke stack, 2008 2 storey polychrome brick structure with walls up to 1 metre thick. It contains a basement approximately 10 metres deep. Six cast iron columns built to support the first floor remain but all other original features have been replaced or obscured by a raised floor, office partitions and a stairway constructed in the 1950s. The first floor retains sufficient fixtures to demonstrate its previous operations.
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The estate includes an imposing brick mansion and a large support building set among scenic landscaping. The mansion was originally built in about 1875 in a Victorian Gothic style, and was extensively remodeled in the 1920s in the Tudor Revival style. It is a large, -story, asymmetrical brick building with stone trim, Tudor arches, and plain balustrades. The north elevation retains the original -story, red brick walls with polychrome brick trim.
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The plain exterior does not resemble the refined and colorful interior. The portal are immediately leads to a generally-rectangular nave area, surrounded by elegant corinthian columns, with an oval dome. The dome frescoes depict the Exaltation of the Blessed Margherita of Savoy, painted 1747-1750 by Michele Antonio Milocco. The polychrome marble altar on the left holds a silver and gilded coffin (1840) with the relics of the blessed nun.
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The interior of the Sokollu Mehmed Pasha Mosque is famous for the İznik tiles, decorated with a wide variety of blue, red and green floral designs, with panels of calligraphy in white thuluth letters on a blue ground. The interior columns make use of polychrome marble. The minbar is made of white marble with a conical cap, sheathed in Iznik tiles. The windows above the mihrab have stained glass.
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An eclectic combination of Victorian styles can be seen in the Vassar Institute building: the decorative cornices of Italianate buildings, the heaviness of Victorian Gothic and the mansard roof common on Second Empire buildings. Many features are similar to designs by James Renwick, Jr., for the early buildings of Vassar College in the 1860s. The colorful exterior recalls the polychrome brick buildings of the preceding decades as well.
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A polychrome statue, depicting the Rákóczy March from La damnation de Faust by Hector Berlioz, was the centerpiece of his exhibit at the 1897 Venice Biennial.Catalog of the Venice Biennale : esposizione internazionale d'arte delle Città di Venezia, second exhibition, 1897, New York : Arno Press, 1971, pg.36. Some of its decorative cast iron work, including masks and highly stylized seahorses, adorn balconies and walls of Hector Guimard's Castel Béranger (1895-1898).
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Holy Trinity, Ebernoe Holy Trinity, the Anglican parish church at Ebernoe, West Sussex, was built at a cost of £1200 of polychrome local brick with an open belfry and steep boarded roof between 1865 and 1867. W.R. Peachey, lord of the manor, laid the foundations stone at the east end. There are no aisles. There are lancet windows in the nave and chancel, the lancets at the west end being trefoiled.
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The House at 5 Prospect Hill in Somerville, Massachusetts is rare in the city as a Queen Anne house executed in brick. Built c. 1880, it is a 2-1/2 story house with a side-gable roof and a projecting gable section on the left front. A polygonal bay projects further from this gable section, with windows set in segmented-arch openings with a band of polychrome brickwork between.
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The archive of European wall and mural paintings covers the period between the Gothic ages to the end of the 19th century. The archive of the World of Ornaments consists of 5,000 motifs based on the two greatest encyclopedic collections of ornament from the 19th-century chromo- lithographic tradition: Auguste Racinet's L“'Ornement polychrome Volumes I and II“ from 1875–1888 and “M. Dupont-Auberville's L'Ornement des tissus” from 1877.
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St Michaels Church, Collins Street, 1866, the first example of elaborate polychrome brick in Australia In Australia, the first use of polychrome brickwork is generally attributed to architect Joseph Reed's Independent Church (now St Michaels) in Melbourne's Collins Street, completed in 1866, closely followed by St Jude's in Carlton. Architects such as Crouch & Wilson and Percy Oakden soon also employed it on church design, while Reed also applied it on houses, notably the Rippon Lea Estate. Most of the State Schools built in the 1870s-80s were in a brick Gothic style with at least two colours. Rare examples of its use can be found in Sydney and Brisbane, however it is most prevalent in Melbourne, where it began, and where it became increasingly popular, reaching a peak in the boom years of the 1880s when it was used extensively on all manner of buildings from terrace houses to villas, from shops to factories.
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The project was conceived in 2001 when Aharon Varady began studying PERL and MySQL while working at Datarealm Internet Services, a webhosting company then located in Philadelphia. In 2002, he proposed the project and argued for its necessity. and Varady has cited a number of inspirations for the project: the essay "Immediatism" by Peter Lamborn Wilson; the do-it-yourself ethos and the Arts and Crafts Movement of William Morris and his Kelmscott Press; the work of bespoke artisans and master book artists in Neil Stephenson's novel The Diamond Age; the illustration of textual metadata in Rabbi Jacob Freedman's unpublished Siddur Bays Yosef (Polychrome Historical Prayer Book); the free culture movement advanced by Richard Stallman and Lawrence Lessig; and experiences with Jewish pluralism in the grassroots intentional community, Jews in the Woods. The original impetus for the project came from his dissatisfaction with available Jewish prayerbooks and his desire to craft a siddur in the style of Rabbi Jacob Freedman's Polychrome Historical Prayerbook.
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He returned to Kangaroo Ground and planted them on his property Kangaroo Hall. The quercus robur or oak tree was estimated to be 110 years old in 2004. In 1878 the Presbyterian Church was constructed of polychrome brick and is attributed to the architect C. W. Maplestone, In 1892 a weatherboard vestry was added at the rear of the church. It is considered historically, architecturally, aesthetically, socially and spiritually significant to the Shire of Nillumbik.
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The Guasave archaeological site, belonging to Capacha culture, was excavated by archaeologist Gordon Ekholm in the 1940s. It became known as the greatest formal cemetery mound in Northwest Mexico that has been excavated.Ekholm Archaeological Project in Sonora, Mexico - 2015, American Museum of Natural History He found several pottery types including red wares, red-on-buff, finely incised wares and several types of highly detailed polychrome pottery. Also, alabaster vases and copper implements were found.
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The building received a baroque exterior with a richly decorated portal. The façade was garnished with floral and fruit motifs, made in stucco. There are winding Gdańsk-type stairs in the hallway, guarded by a Minerva figure and a lion holding a shield. At the beginning of the 19th century, the first floor room was decorated with classicistic polychrome with an illusionist painted colonnade in Ionic order and pseudo-cassettes on the ceiling.
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The gate is highly decorated with wood carvings, metal ornaments, polychrome, and sculptural forms. The roof is ornately decorated with embellished tiles that cover the ridges on the rooftop (see fig. 6). Figure 6 Karamon Gate Side 2 The round tiles appear to have the image of a wheel-like flower, the wheel being significant in that it is a symbol of the Dharma, or Buddhist law, cosmology, and the cycle of reincarnation.
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Built in the 1890s, the original Richmond Town Hall was in the Venetian Gothic Revival style, consisting of polychrome brickwork and a large tower. In the 1930s the Town Hall's facade was remodeled in the Interwar Academic Classical Revival style, with Art Deco decorations, to become the Richmond City Hall. Some sections of the rear of the building and interior spaces retain the original Victorian era detailing. The 'Richmond Town Hall' was refurbished in 1991.
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It also has a tower with Baroque bell tower topped with a semicircular dome. Highlights its portal-side reredos and the Renaissance portal of the muro de pies, the choir stalls, its colonial paintings and polychrome wood carvings. Inside rest the remains of Diego de Almagro, Diego de Almagro II and Gonzalo Pizarro. Since 1972 the property is part of the monumental area of Cusco declared as a Historic Monument of Peru.
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Polychrome cave painting of a grey wolf, Font-de-Gaume, France. The extermination of Northern Europe's wolves first became an organized effort during the Middle Ages, and continued until the late 1800s. In England, wolf persecution was enforced by legislation, and the last wolf was killed in the early sixteenth century during the reign of Henry VII. Wolves survived longer in Scotland, where they sheltered in vast tracts of forest, which were subsequently burned down.
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Otto Gutfreund in the French Foreign Legion, 1914 Otto Gutfreund (3 August 1889 – 2 June 1927) also written Oto Gutfreund, was a Czech-Czechoslovak sculptor. After studying art in Prague and Paris, he became known in the 1910s for his sculptures in a cubist style. After his service in the First World War he worked in a more realistic style. His later work includes many small polychrome ceramic figures as well as architectural decorations.
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The adjacent baroque oratory was endowed in 1712 by Francesco Cimini, and was once attached to a hospital. It is said that Cimini discovered by chance a treasure of gold in his bakery in Rome, and this allowed him to endow this oratory. The interior is rich in polychrome marble and has a painting depicting the Holy Conception attributed to the school of Antonio Gherardi. The wooden cruxifix is of high quality.
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Since before the 16th century, the small rural church of Santa Maria a Pie'di Monte, known as the Madonna delle Icone, was present on the site. This larger church was built and shelters now the relics of Santa Viviana or Bibiana, translated here by Pope Leo XIII. The present church was erected at the end of the 18th century by the Monsignor Ciccolini. The interior is decorated with polychrome baroque stucco decorations.
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The Niuki 9th. Edition has other texts linked to El Teúl such as: "The people of El Teúl, at its roots", from Luis Sandoval; "Mezcalera Tradition in El Teúl" and "revolutionary teulenses: the Caloca", Ezequiel Avila, and "Life of five El Teúl characters." "Hope for current times", Hugo Ávila. Also found shell beads and green stone were found from shaft tombs, in addition to earflaps with Teotihuacan’s motifs and polychrome ceramic style Codex, among others.
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Exotic foods such as "white-tailed deer, sea lion, coca leaves, aji peppers, and many types of fruits" are found rarely in domestic contexts, but appear in elite households, which suggests the powerful had greater trading capability. However, there seems to have been a steady flow of shellfish from the nearby Pacific Ocean. High quality polychrome vessels have been found that source to the Wari Empire. This civilization was located in the Central Andean Highlands.
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The convent of Sant Francesc d’Assís (Saint Francis of Assisi), is a Baroque building dating back to the beginning of the 17th century. Today only the church, cloister and some adjoining areas remain. The cloister is the most emblematic space, with walls covered in polychrome ceramic panels (1671-1673), attributed to the master potter from Barcelona, Llorenç Passoles. The preserved sections of the convent were refurbished recently and today the cloister may be visited.
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Bar at the Golden Cross, Cardiff More impressive is the Golden Cross public House in Custom House Street. This has a two-storey red faience facade with yellow pilasters. The ground floor has an elaborate tiled pub front with Venetian windows; green and gold tiling with raised lettering to fascias, tiled panelling to pilasters. The saloon bar on the ground floor has walls lined with polychrome tiles and a tiled floral frieze.
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Hine's asylum designs had several distinguishing features that can be used to identify any of his many projects. All were built in red brick and had grey stonework. His later designs often feature a polychrome white/red brick pattern, especially for window mullions, although this was a relatively common architectural detail at the time and not exclusive to Hine. Hine was an early exponent of the 'echelon' design of asylums which he deployed at Claybury.
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The Cathedral of San Donato, built in 1444, has been destroyed and rebuilt several times. The interior has four paintings depicting the four Evangelists, the work of an artist called Pallas in 1797. The church of Our Lady of Grace, has an altar in polychrome marble, with the portrait of Our Lady of Grace crowned in the centre. There is also the remains of the castle that belonged to Roger of Lauria.
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On Doric marble buildings, the metopes decorated the entablature above the architrave alternating with the triglyphs . These were a reminiscence of the wooden beams that supported the roof. The part between the triglyphs, at first a simple unadorned stone space, was quickly used to receive a carved decoration. The Parthenon numbered ninety-two polychrome metopes: fourteen on each of the east and west facades, and thirty-two on each of the north and south sides.
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" The exterior is an Art Deco interpretation of Byzantine style, with an oversized, arched entrance, paired arched doorways, polychrome brickwork and basket capitals. Kadish describes the interior as "spanned by a deep barrel vault over the central aisle, which was originally painted to imitate a star- spangled sky. The gallery runs around three sides carried on slender iron columns with palmette capitals. The plasterwork Ark canopy is highly decorative, painted and gilded.
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The altar has relics of Saints Attinia and Greciana. The Chapel of the Deposition has a group of five wooden polychrome figures representing the Deposition of Christ executed in 1228 by an unknown Volterran artist. Wooden sculpture of the Deposition The rectory stalls are the work of Francesco del Tonghio and Andreoccio di Bartolomeo, while the fine 15th- century intarsia on the bishop’s throne and the chaplain's benches are the work of unknown Tuscan masters.
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Sanctuary site It was given the status of minor basilica in 1942.List of basilicas in Italy In the centre of the church there is a tempietto or free-standing chapel containing a fresco of the Madonna and child by Bicci di Lorenzo. There is an altarpiece of Christ and John the Baptist in polychrome terracotta by Giovanni della Robbia,Della Robbia page and another Madonna and child by Fra Paolo da Pistoia.
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Between the house and the carriage house is a courtyard. ;Second floor Directly across the hallway from the top of the staircase, on the northern side of the house, is the ballroom. Against the wall to the right of the door to the ballroom was an eight-legged George III mahogany sofa, circa 1770. Either side of the sofa was a pair of carved polychrome and giltwood lamps in the Chinese taste.
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Both books were intended as parts of a projected long-running fantasy series to replace the Oz books. Given the relatively tepid reception of the first book in the series, however, Baum tried to attract young readers by including two characters from his Oz mythos in Sky Island—Button-Bright and Polychrome, originally introduced in The Road to Oz (1909). The book was dedicated to the author's sister, Mary Louise Baum Brewster.
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A scheme to erect a massive tower above the store was never carried out. Also involved in the design of the store were American architect Francis Swales, who worked on decorative details, and British architects R. Frank Atkinson and Thomas Smith Tait. The distinctive polychrome sculpture above the Oxford Street entrance is the work of British sculptor Gilbert Bayes. The Daily Telegraph named Selfridges in London the world's best department store in 2010.
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The interior, a single nave with side chapels, was rebuilt by Lombardi in the years preceding Francesca Buzzi's canonization, beginning in 1595. In the middle of the nave is the rectangular schola cantorum of the old church, covered in Cosmatesque mosaics. Another prominent feature is the confessional designed by Gian Lorenzo Bernini (1638–49), in polychrome marbles with four columns veneered in jasper. Among the altarpieces are works by Pietro Tedeschi, Padre Pozzi, and Subleyras.
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Bolko I's tomb effigy in Krzeszów. In this 19th-century lithograph an attempt was made to reconstruct the medieval polychrome. Resentful of Bolko I's ambitions, Bishop Jan Romka decided to use the biggest weapons available to him against the Duke: in 1294 Bolko I was excommunicated, and all his lands were placed under interdict. Forced by this actions, Bolko I renounced his pretensions and freed the Bishop's castles that he had occupied.
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Motifs of flowers and trees, with birds, insects, and animals, were worked at large scale in a variety of stitches. The origins of this work are in the polychrome embroidery on scrolling stems of the Elizabethan era, later blended with the Tree of Life and other motifs of Indian palampores, introduced by the trade of the East India Company.Beck 1995, pp. 54–58 After the Restoration, the patterns became ever more fanciful and exuberant.
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The funerary offering included three polychrome ceramics; a tripod plate, a plate painted with the figure of a dancer and a vessel bearing the images of human figures and a jaguar. Burial 7 was immediately above the cist of Burial 9. Burial 8 was interred towards the rear of the Talud-Tablero Temple (5C-49). The deceased was a young adult male aged between 21 and 35 years old with an artificially deformed skull.
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Margaret Gutierrez (born 1936) and Luther Gutierrez (1911–1987) were a brother and sister team of Native American potters from Santa Clara Pueblo, New Mexico, United States. They descended from several generations of potters and continue the polychrome style of painting made famous by their parents Lela and Van Gutierrez. At age twelve, Margaret began apprenticing as a potter with her mother. Luther's father taught him where to find, and how to process the clay.
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Typical features of the more important buildings included massive round piers and smaller engaged columns. 9th century Abbasid architecture had foliate decorations on arches, pendant vaults, muqarnas vaults and polychrome interlaced spandrels that became identified as typical of "Islamic" architecture, although these forms may have their origins in Sassanian architecture. Thus the fronting arch of the Arch of Ctesiphon was once decorated with a lobed molding, a form copied in the palace of al- Ukhaidar.
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Finally after the restoration done in 1937, it was decided to eliminate the polychrome from the image and in 1938 it was returned to worship at her monasteryDecreto de devolución de la Imagen de Santa María de la Rábida a la Orden Franciscana, expedido por el Cardenal Arzobispo de Sevilla, D. Eustaquio Ilundain y Esteban, March 4, 1937. (Archivo del convento de La Rábida) in the original form in which it was sculpted.
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These genres continued to be produced into the Kamakura period from 1185 to 1333. As during the Nara period, sculpture remained the preferred art form of the period. Influenced by the Chinese Song and Yuan dynasties, Japanese monochrome ink painting called suibokuga largely replaced polychrome scroll paintings. By the end of the 14th century, monochrome landscape paintings (sansuiga) became the preferred genre for Zen painters, evolving to a unique Japanese style from the Chinese origin.
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This 17th-century altarpiece also has four twisted columns and an arched pediment with a niche holding a statue of Christ holding a globe. In the centre is a statue of Saint Pierre and seven polychrome medallions. Further panels on the column's socles have depictions of the Angel Gabriel and Saint Mark on the right side and the Virgin of the Annunciation and Saint Matthew on the left. These sculptures are also by Jean Berthouloux.
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Maria Feodorovna in turn was annoyed by the bright polychrome decoration and Pompeian arabesques used by Cameron, and wanted more delicate colors, and Paul did not like anything that resembled the style of his mother's house, the Catherine Palace at Tsarskoye Selo. The tensions led to a parting in 1786. Cameron left to build a new palace for Catherine in the Crimea. He had finished entry vestibule and the five rooms of the private apartments.
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Today the interior of the church has only the nave and one aisle, as the right aisle was annexed to the cloister. Two apses are present, the right one having been eliminated to build the Capitular Hall. The vaults have ogival arches, while the nave is divided in two by a wall inspired to the French jubé. The latter has five ogival arches, and is decorated by two rows of polychrome sculptures.
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J. Laurent. On the entrance and protecting it built a corrido balcony with a forging parapets supported on braces. During these reforms was also built a second tower on its northwest side (to the right of the main entrance). Inside were placed pavements of polychrome azulejos with mythological scenes, the stairs were decorated with risers of vegetable themed and the walls were coated with noble fabrics, stuccos and frescoes in walls and ceilings.
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Teddy's Tavern, originally called the Blue Hen Garage, is a historic tavern located at Ellendale, Sussex County, Delaware, USA. It was built about 1923, as a service station catering to motorists on the newly constructed Du Pont Highway. It was converted into a roadside tavern in 1937. It is a one-story, polychrome brick building with a low-pitched gable roof, low parapet, and exposed rafter ends in a Mission/Spanish Revival style.
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The second building has a collection that was given to the museum in 1979 by two Riomese donors: Marie-Joseph and Edouard Richard. It comprises antiques, including polychrome ceramics, small bronzes, jewels, Hellenistic marbles (Aphrodite, Artemis) and an extremely rare funeral portrait of Fayoum. There are also sculptures from the Middle Ages of Auvergene majesties of the 12th century and Child of Moulins of the 15th century. There are also Florentine paintings and Renaissance furniture.
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One of the main attractions of the province is the Paracas National Reservation, where 216 species of birds have been found. Many beaches attract tourists during the summer months. The coastal desert area around this reserve is the home of the pre-Inca Paracas culture. This people was known for its elaborate textiles and grave goods, including polychrome shawls made with camelid (llama or alpaca) wool and cotton, which date to 600 BCE.
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Tula probably did not rule an empire but may have ruled a regional state. Long range contacts are indicated by the appearance of ceramics from eastern Mesoamerica, grey-green plumbate from southern Guatemala and polychrome ceramics from Costa Rica. Tula probably traded obsidian in return. The socioeconomics of Tula society is thought to have consisted of a ruling elite class, a craftsmen class, a merchant class and a large number of farm workers.
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Church of St. Elizabeth of Hungary in Łódź () is a Roman Catholic church built in the interwar period in Anastazy Pankiewicz street (formerly: Sporna Street). The several-storey building next to it contains the monastery of Bernards, Bernardine and Catholic High School. The artistic polychrome, made by Zygmunt Acedański in 1960, was painted in white. The main altar of St. Elżbieta Węgierska, Saint Francis of Assisi, Saint Piotr and Our Lady of Fátima.
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The main altar was designed by mechini, but completed in polychrome marble by Giovanni Battista Cennini and Pier Maria Ciottoli. The main altar houses a 17th-century fresco of figures interacting with the framed 13th- century icon of the Madonna (1638), painted by Mario Balassi.Visit Tuscany website, short introduction and photo. This recalls the miraculous event in 1616 during which the Madonna from icon was observed to cry,Il tirreno, article from 22 April 2016.
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To the right of the modern main altar is a Presentation of Jesus to the Temple by Fabrizio Boschi. To the right in a gilded frame is a Glory of San Carlo (1616) by Matteo Rosselli (restoration completed in 2006). The right wall has a 14th-century polychrome wooden crucifix sculpted by Orcagna. The modern bronze statue below depicts the mystic San Pio of Pietrelcina, receiving as a young man the stigmata (2006) by Ceccarelli.
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The paintings were completed in 1418, which is noted in Cyrillic on the patronage tablet, located on the arch between the nave and the presbytery of the church. Along with religious scenes decorating the interior of the church, there are two portraits of King Ladislaus II, the patron of the painting project. The polychrome was conducted with various techniques: both on dry and wet plaster with tempera paint. Holy Trinity Chapel during the day.
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The Church of the Holy Apostles Peter and Paul in Bydgoszcz is located in Bydgoszcz, Poland, on Wolności Square. Patron saints are Saint Peter and Saint Paul. The church, richly decorated with polychrome has been realized in 1957 by Władysław Drapiewski from Pelplin and Leon Drapniewski of Poznań; it has been registered on the Pomeranian Heritage List on October 5, 1971.Rejestr zabytków nieruchomych – województwo kujawsko-pomorskie (31 December 2014) issued 2010-10-12.
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Over 600,000 ceramic pot sherds were recovered at the site of Rivas. The research team focused on diagnostic pieces, such as rims and decorated body sherds, in their collection efforts. Further examination showed that 60% of the rims and 72% of the other sherds were decorated in the Buenos Aires Polychrome tradition. This pottery style is generally considered to be "fiesta ware" of the Chiriquí Period in the chronology of Costa Rican art.
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Well-preserved cliff dwellings were occupied by the Salado culture during the 13th, 14th, and early 15th centuries. The people farmed in the Salt River Valley, and supplemented their diet by hunting and gathering native plants. The Salado were fine craftspeople, producing some of the most flamboyant polychrome pottery and intricately woven textiles to be found in the Southwest. Some of the artifacts excavated nearby are on display in the visitor center museum.
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In 1887 Wyspiański enrolled in the Faculty of Philosophy at Jagiellonian University and the School of Fine Arts in Kraków. While studying at the university, he attended lectures in art, history and literature. Jan Matejko, the dean of the School of Fine Arts, soon recognized Wyspiański's talent and asked him to join in the creation of a polychrome inside the Mariacki Church. Planty Park at Dawn, 1894 The years 1890–1895 were devoted to travel.
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Brothers Burl and William Woodburn collaborated to construct this substantial commercial building in 1917. The Masonic Temple was located on the upper floor and the Woodburn Brothers Grocery occupied the ground space until the building changed hands in 1921. Its striking polychrome brick, gently sloping gable parapets, and terra cotta tile-framed windows and doors add unique contrast to the plain rectangular plan. Numerous T- and diamond-shaped terra cotta medallions ornament the upper level.
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His decision to work in lace may have been influenced by the strong tradition of lace-making found in Langrune-Sur-Mer. He frequently collaborated with the lace manufacturer, Robert Frères. Together with Robert Frères, Aubert developed intricate polychrome lace work that was exhibited at the Galerie des Artistes Modernes in 1898 and 1901. The art critic Julius Meier-Graefe was a particular fan, frequently praising in Aubert in the art journal, Art Décoratif.
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The Michigan Theatre was opened in 1930. It was built for the mainstream popular entertainment of the day, vaudeville and movies. For just a few pennies, the public of the 1930s entered the building and were treated as royalty. As guests entered the exotic Spanish-styled building, they found lavish interior plasterwork of the 1930s, polychrome terra cotta facade, walnut furniture, wool carpets, oil paintings, heavy demask draperies, and exotic stained glass light fixtures.
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The design, with a facade with rusticated pilasters and roof-top obelisks, is attributed to Bartolommeo Ammannati or his followers. The church has an elaborate main altar with polychrome marble, and painted architecture. The main altarpiece is the Trinity with Saints John the Baptist, Paolino, Sebastian, Antony, and Catherine by Pietro Paolini. A side altar has a sculpted marble Lactating Madonna (also called Madonna della Tosse or della Latte) by Matteo Civitali.
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Bowl painted on slip under transparent glaze (polychrome), Nishabur, 9th or 10th century. National Museum of Iran, Tehran. Nishapur during the Islamic Golden Age, especially the 9th and 10th centuries, was one of the great centers of pottery and related arts.Nishapur: Pottery of the Early Islamic Period, Wilkinson, Charles K. (1973) Most of the Ceramic artifacts discovered in Nishapur are preserved in the Metropolitan Museum of Art and Museums in Tehran and Mashhad.
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The opposite elevation, which faces Main Street, is similar, but has an additional lower story due to the slope of the site, and three entry bays rather than five. This elevation bears the seals of five additional federal departments: Navy, Interior, Agriculture, Commerce, and Labor. The Spring Street and Main Street lobbies have retained most of their original finishes and furnishings. These include polychrome terrazzo floors, ornamental plaster ceilings, and ornate aluminum light fixtures.
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Motifs known from the stucco at Samarra permit the dating of structures built elsewhere, and are furthermore found on portable objects, particular in wood, from Egypt through to Iran. Samarra witnessed the "coming of age" of Islamic art. Polychrome painted stucco allowed for experimentation in new styles of moulding and carving. The Abbasid period also coincided with two major innovations in the ceramic arts: the invention of faience, and of metallic lusterware.
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Coloured sections of the facade. The architect Baron von Hansen's original intent was to have the whole exterior polychrome, like in ancient Greece. Baron von Hansen's design for the Reichsratsgebäude uses the neo-Greek style, which was popular during the 19th century Classic revival. Hansen worked at that time in Athens and was recruited by the Greek-Austrian magnate Nikolaus Dumba, who was on the committee for constructing a new parliament building.
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Most of his works were in timber; one of the few still standing is the bath at Abramtsevo. Ropet made use of the Victorian craze for world's fairs to propagate his ideas abroad. He designed the Russian pavilions at the World's Fairs in Paris (1878) and Chicago (1893). In Russia, he was responsible for the influential polychrome pavilions at the Polytechnic Exposition of 1872 in Moscow and the Nizhny Novgorod Fair of 1896.
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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.
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Into the church therefore new columns were added and a new portal was constructed in the west. The Chapel of Sf Anthony of Padua holds a Baroque altar made of polychrome marble and a glass window in the style of the 17th century. The walls of the church are covered with frescoes of the coats of arms of Austrian aristocratic families who either contributed to the construction of the church or are buried here.
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The interior chapel was refurbished with polychrome marble and frescoed by Vincenzo Meucci with depictions of Trinity in glory and angelic musicians. Meucci also frescoed the entry ceiling and courtyard gallery, and a ceiling in the piano nobile with the Fall of Phaeton. The fresco decoration also employed Anton Domenico Giarré. In 1788, the Marquis Roberto di Gino, who had inherited the palace, sold the palace to the brothers Zanobi and Marco Covoni Girolami.
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The side door leading to the sacristy is closed by a steep arch. In the entrance to the sacristy and to the nave (from the south) there are Gothic portals and fragments of Gothic polychrome from the 15th century over the vault. In the spanner of the vault there is a disc with the emblem of the Piasts. The nave is built on a square plan, and splayed windows have Gothic arches.
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Motul de San José is possibly the source of the so-called "Ik-style" painted polychrome ceramics, a theory that has recently received additional support from archaeological excavations at the site.Moriarty 2004, p.21. Reents-Budet et al 2007, p.1417. These ceramic vessels, including finely painted plates and cylindrical vessels, were first associated with the then-unidentified site of Ik in the 1970s by the Emblem Glyph included in the hieroglyphic texts on them.
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There are five mausoleums (türbe) in the funerary garden to the south of the mosque. The earliest and largest is that of Şehzade Mehmed which has a Persian foundation inscription over the entrance with a date of 1543–44. The mausoleum is an octagonal structure, with a fluted dome, polychrome stonework and a triple-arched portico. The interior walls are covered with multi-coloured cuerda seca tiles and the windows have stained glass.
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The two minarets were rebuilt on an old base by Parvillée. Polychrome painted decorations, which had previously adorned the upper parts of the walls and ceilings, were not restored. During a second restoration project that took place from 1941 to 1943, the ceramic facing of the tiles was removed and reinstalled. The Green Mosque underwent another renovation, starting in 2010 and reopening on May 11, 2012, which cost 1.8 million Turkish Liras.
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The church once had a tall shady elm tree in front, hence its name. In the late 16th century, the church was ceded to Congregazione dei 72 Sacerdoti, and renamed the church of San Michele Arcangelo. The church was rebuilt in Baroque decoration with stucco and polychrome marble with maiolica floor tiles. For decades, the church fell into decay, and now the deconsecrated building is in the custody of the cultural organization: Fondazione Giambattista Vico.
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University Press of Florida, Gainesville. The tomb held polychrome decorated pottery, jade and shell jewelry, bone artifacts (likely hollow bone flutes), and a slate-backed pyrite mosaic mirror, while the interred individual and tomb floor were generously covered with cinnabar (red ochre), typically reserved as a sign of Maya royalty.15Healy, Paul F. and Marc G. Blainey (2011), “Ancient Maya Mosaic Mirrors: Function, Symbolism, and Meaning”, Ancient Mesoamerica 22(2):229-244.
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The wooden confessionals were carved by Antonio Maria Lodi. The funereal monument to Vespasiano, in polychrome marble, was built in 1592 by Giovanni Battista della Porta (architect). The bronze sitting statue of Vespasiano was created circa 1560 by Leone Leoni. During recent restorations, the skeletal remains of Vespasiano were found with his badge of the Order_of_the_Golden_Fleece, granted to him in 1585 by the King Phillip II of Spain, and awarded by Ottavio Farnese in Parma.
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The interior of the church is replete with polychrome sculpture and decoration. Dominating the nave is a 16th-century rood screen, showing the crucified Christ, attended by the Virgin Mary and St John the Apostle. Below this, scenes of the Passion are represented in rich detail. A number of complex retables focus on the Passion and on the lives and deeds of saints, including John the Baptist, St Margaret the Virgin, and St Lawrence.
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The façade is characterized by the use of tarsia and polychrome marble decorations in white, red and black lozenges. Over the main portal is a rose window, flanked by two medallions portraying Julius Caesar and Trajan. The upper part of the basement has nine plaques with reliefs of Biblical stories, and four bas-reliefs with Hercules's deeds. The four pilasters of the windows flanking the portal are surmounted by statues of the Virtues.
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Interior of the Synagogue in 1898 While the exterior was Romanesque, its interior featured the richly ornamented style that was to become the hallmark of Moorish Revival architecture. The elaborate Arabic-style interior had a two-tiered balcony supported by columns copied from the Alhambra. The arches and balcony fronts were richly worked with intricate polychrome foliate and lattice designs in the Moorish style.Harold Alan Meek, The Synagogue, Phaidon, London, 1995, p.
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Local pieces are exhibited with other contemporary of Spanish and Italian production. 17th-century Florentine tondo depicting Madonna and Child, attributed to the manufacture of Benedetto Buglioni’s workshop. At the time of the Renaissance, Florence was a producer of polychrome glazed ceramic, which arrived to Spain through the continental trade. One example of this type of ceramic is a 17th-century Florentine tondo depicting Madonna and Child, attributed to the manufacture of Benedetto Buglioni’s workshop.
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Excavations at Kubadabad Palace uncovered a magnificent series of polychrome ceramic tiles now held in Konya's Karatay Museum. Painted with an underglaze of blue, purple, turquoise and green, the series consists of white, star-shaped figural panels alternating with turquoise crosses. Similar tiling has also been found on the Roman theater at Aspendos, which Kayqubad had converted into a palace. The subjects of the tiles include humans, and animals both real and fantastic.
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These temples reflected the continued worship of these nobles. In some instances, members of the royal family or young attendants would be sacrificed to accompany the lord in death. The tombs were filled with precious goods including fine polychrome pottery, effigy figurines, jade and marble pieces, masks, mushroom figures. While these figures were found in Maya tombs, many of these items were also used in the service of food, drink and for additional ritual purposes.
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Construction works began in 1682 and ended five years later. The chapel was consecrated on 19 May 1687. The cardinal commissioned three painters, Pier Francesco Garoli, Luigi Garzi and Carlo Maratta to record his visit in the new chapel on a painting which is preserved in the Museo di Roma (Interior of the Cybo Chapel, 1687). The entrance arch was decorated by the ducal arms of the Cybo Malaspina dynasty made of polychrome marble.
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Chinese learned to manufacture glass comparatively later than the Mesopotamians, Egyptians and Indians.Pinder-Wilson 1991, p 140 Imported glass objects first reached China during the late Spring and Autumn period – early Warring States period (early 5th century BC), in the form of polychrome ‘eye beads’.Braghin 2002b, p 6 These imports created the impetus for the production of indigenous glass beads. During the Han period (206 BC to 220 AD) the use of glass diversified.
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East facade of the basilica. Santi Pietro e Paolo a Via Ostiense is one of the titular churches in Rome, to which Cardinal-Priests are appointed. It is a modern building at Piazzale dei Santi Pietro e Paolo 8 in EUR (Esposizione Universale Roma). It is at the west end of the Viale Europa, the last two blocks of which is a monumental approach reserved for pedestrians and paved with polychrome marble.
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This duplex residence, facing Yaralla Street, is constructed from polychrome brick. The building is symmetrically composed and has a hipped roof clad with ceramic tiles. The Yaralla Street elevation of the building has a central projection which is hipped roofed and features a line of six openings filled with timber framed hopper windows, which are aligned with six oversized ventilation openings at ground level. Flanking the windows are two iron grilled openings.
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Surface survey at the remains of la Travesía, 1980 Doris Stone excavated in the city center of Travesía. Her photos of those excavations can be found in the photo archives of the Peabody Museum of Harvard University. Some of what she found is published in her book, The Archaeology of the North Coast of Honduras (1941). The site itself is known for its abundant Ulua polychrome pottery, and especially for the Ulua marble vessels.
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The Finley Guy Building is noteworthy for its use of Spanish Colonial Revival architecture. The style was rarely employed in Davenport and when it was used it is found in residential architecture. The building features heavily textured polychrome face brick and metal casement windows. Both decorative elements are typical of buildings constructed in Davenport in the late 1920s and in the 1930s, but they are generally found in Tudor Revival and Cotswold Cottage styles.
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Pilkington adhered closely to Ruskin's principals, and in the High Victorian tradition which they promoted he evolved a highly personal style by mixing northern medieval elements with those from the Gothic architecture of Northern Italy as published by Ruskin and George, Edmund Street. His work featured polychrome stone, chunky rustication and lavish external carving of Venetian medieval buildings combined with French rose windows, decorated tracery, high-pitched roofs and deep, rain-conscious porches.
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The dome does not stand directly behind the entrance, but is offset to the south. The entrance gateway, like those of the Grand Bazaar and the Masjed-e Shah, was a recessed half-moon. Also, as in the Masjed-e Shah, the lower façade of the mosque and the gateway are constructed of marble, while the haft-rangi tiles (Persian: هفترنگی, lit. "seven-coloured", "polychrome mosaics") decorate the upper parts of the structure.
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The chapel is noted as a fine example of Gothic Revival architecture, designed by John Loughborough Pearson in an Italian Gothic style. The interior of the chapel features a rib vaulted ceiling decorated richly with much use of polychrome marble and mosaics. The mosaics were completed by Maurice Richard Josey in the 1930s, assisted by his son John L. Josey. The ceiling mosaic work consists of blue stars against a gold background representing the firmament.
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The original brick ceiling collapsed during an earthquake in 1799, and was replaced by trussed roof. The interior is decorated with faux polychrome marble (scagliola)and completed only in 1896 by dall'Adami of Rome and the Ferranti of Tolentino. The church was damaged again by the 1997 earthquake and reopened for worship in September 2006. The nave ceiling was frescoed by Giuseppe Rinaldi, known as lo Spazza, and depicts the Life and Mysteries of Mary.
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It also allowed for a decorating styles influenced by European, indigenous and Oriental motifs. The Tonalá tradition became known as "Tonalá ware" "Polished ornamental ware" or "Guadalajara polychrome." A number of these pieces were exported Europe in the 17th and 18th centuries, mostly to Spain but examples reached Italy and other areas. However, in the later colonial period ceramics waned in Tlaquepaque, coming back in the 19th century with jars and Nativity scenes.
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The growth of the cities could not have happened without advances in agricultural methods and the strengthening of trade networks involving not only the peoples of Mesoamerica, but also the distant cultures of Oasisamerica. The arts of Mesoamerica reached their high-point in this era. Especially notable are the Mayan stelae (carved pillars), exquisite monuments commemorating the stories of the Royal families, the rich corpus of polychrome ceramics, mural painting, and music.Maya Art , authenticmaya.
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One of the attractions offered by this district are the archaeological investigations which have found variety of pieces dating back thousands of years, which is why it is known as Archaeological City, however, the municipality officially seeks that title by executive decree, with the purpose of developing an entire project to publicize and promote this area of archaeological treasures that come from 800 BC to 1500 AD, belonging to periods polychrome Old, Middle and Late.
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Only completed and the interior decorated after 1748. The main altarpiece, on a polychrome marble altar, depicts a Madonna with Saints Demetrio and Bonifacio by Nicola Maria Rossi. The lateral altars have canvases depicting a Madonna and child with Saints Paul the Hermit, Leonard Abbot, and Gerolamo Emiliani by Antonio Romeo, and a Madonna and Child with St Gerolamo Emiliani by Gennaro Gamba.Circuitro Informativo Regionale della Campania per i Beni Culturali e Paessagistici, description.
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The only surviving chapel of the original building stands by the northern wall. It is a small square building displaying oculus on the outside three walls, capped with a Renaissance dome topped by a roof lantern with a bell-shaped roof and a cross from 1617. The thin pilasters of the roof lantern display mascarons, while each oculus is sheltered by grillwork. The dome outside is covered metal, while interior reveals art déco polychrome.
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The Church of the Good Shepherd is located in Hartford's Coltsville area south of the downtown, on the southeast side of Wyllys Street just south of its junction with Charter Oak Avenue. It is a masonry structure, built out of Portland brownstone and Ohio sandstone. It is roughly T shaped and has Gothic Revival styling. It has a steeply pitched polychrome slate roof, with parapeted gable ends that have crosses at the peaks.
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Statue of Antinous (Delphi), polychrome Parian marble depicting Antinous, made during the reign of Hadrian (r. 117–138 AD), his lover During the Republic, a Roman citizen's political liberty (libertas) was defined in part by the right to preserve his body from physical compulsion, including both corporal punishment and sexual abuse.Thomas A.J. McGinn, Prostitution, Sexuality and the Law in Ancient Rome (Oxford University Press, 1998), p. 326. See the statement preserved by Aulus Gellius 9.12.
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The house is set on a sweeping curve of Rangeley Road in the southern part of the Skillings development, opposite Meadowcroft Road. It is a 2-1/2 story brick structure, built in a Ruskinian Gothic style to a design by George Dutton Rand. It is faced in polychrome (red and black) brick, with additional trim elements in brownstone. The main facade is asymmetrical, with the entrance set in a segmented-arch opening.
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The ruins of a 12th to 13th-century Laurenzana castle are found in the crag atop the village. Laurenzana castle Ruins The Chiesa Madre dell'Assunta with a stone portal dating from 1780 is the main church. It a polychrome marble main altar, and a 16th-century fresco along with 18th- century Neapolitan school altarpieces. Near the Assunta there is a belvedere from which it is possible to view the surrounding valleys and mountains.
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The north-facing theater is a three-story building that extends wide. The first floor has a stone facade, while the upper floors are clad in polychrome brick. The facade features a large, central curvilinear gable parapet rimmed with terra cotta ornamentation and five finials. The midline of the gable features a two-story rectangular window with stained glass sidelights, topped by a circular stained glass oculus window highlighted by a terra cotta sunburst.
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Roman temples were built on it in later centuries and the last church was erected there in the 12th century. In November 2014, archaeologist Simonetta Stopponi announced finding a polychrome terracotta male head of an Etruscan god in the area of Orvieto. "The head is very nice and well kept," said Stopponi, "An important discovery as well as that of the temple" that measures . A main temple and a sacred way have also been excavated.
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The site once held a church built during the Norman rule, ruined after an earthquake in 1656, and the present church was mainly rebuilt during 1731–38. The baptismal font remains from the ancient church. The detached belltower dates from 1727, and because the church is located at the highest point in town, it is a visible landmark of the town from a distance. The polychrome marble main altar shelters the relics of the body of San Costanzo.
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The layout is of a single nave with four lateral chapels and ends in a domed apse. The green marble columns flanking the main altar were spolia from Villa Giulia, Rome, sent here by Pope Clement IX. The polychrome main altar, which includes alabaster frames, may have been designed by Bernini. The ciborium or tabernacle is made from precious multicolor stones, including lapis lazuli and metals, and was donated by Pope Alexander VII.Comune of Pistoia, entry on church.
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The hall was built 1882–1884 in Romanesque Revival style. Single-story wings flank a heavy, two-story central mass, with the reading room extending rearwards to form an overall T shape. A central entryway framed with Romanesque triple arch is set deep within the building's flat front facade, with an asymmetric stairway tower protruding forwards to its right. The building is faced with Longmeadow sandstone in striking polychrome patterns, the light stones forming checkerboards within dark, reddish walls.
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The William Cook House is an historic house at 71 Appleton Street in Cambridge, Massachusetts in the United States of America. The 2.5 story brick house was built in 1877, and is distinctive as a transitional Stick style/Queen Anne building executed using a rare construction material (brick) for a residence in Cambridge. Queen Anne styling is evident in the varied massing and gables, and in the polychrome brick surface. It also has an extremely well-preserved Victorian interior.
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The 20th century renovation removed much of the roof over the staircase, leaving only the center section with its double pointed arch vault which was restored to its medieval appearance. The statues which adorn the clock pavilion are copies of the original polychrome statues by Master Hariman of Prague. The shield with the Bern coat of arms was originally an imperial eagle. The iron gates in the portals below the stairs are original treasure chamber doors by Michel Müller.
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She is able to convince the Queen to allow Mombi to stay. Mombi requests that Amy seeks out Polychrome, to assist them in helping The Order slay Dorothy. Amy and Ozma leave the Queendom of the Wingless Ones to find her, and are given a gift from Queen Lulu that she had stolen from Glinda. When the gift backfires and Glinda unexpectedly appears, Amy tries to fight her, but it is revealed that Glinda is only a projection.
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At the time, the station was also called "City Hall Loop". Unlike the rest of the subway line, the City Hall station had tall tile arches, brass fixtures, chandeliers, skylights, polychrome tile, and elegant curves that ran along the platform. It was lit by wrought iron chandeliers and the three skylights of cut amethyst glass that allowed sunshine onto parts of the platform. During World War II, the skylights were blacked out with tar for safety.
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The original building, a five-storey - four bay warehouse with an attached single bay of four stories of office space. The design is a "Romantic composition in polychrome brick and sandstone capped by picturesque Dutch gables". The four bays of warehouse are structurally defined as separate areas. Evidence uncovered on the ground, second, third and four floor indicates that the four warehouse bays were linked by a single arched opening, except Bays 4 and 5 which had two openings.
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The New Lawn is a historic building located in Des Moines, Iowa, United States. This three-story, brick structure was completed in 1915. It features seven units, an U-shaped plan, a symmetrical facade with projecting wings, polychrome brick veneer, a series of quadruple ribbon windows, and a flat roof. with The building is located on Sixth Avenue, which by the turn of the 20th century had become a major route utilized by vehicular traffic and streetcar lines.
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On the left or north side of the entrance resides the khanqah, though no living units were attached to it. The waqf deed says that Sufis had their meetings there, but there are no living accommodations provided for them. however, there are a few living units attached to the madrasa across the street. The khanqah is a T shaped hall with a mihrab, decorated like the mausoleum and the Mosque with a polychrome marble dado and pavement.
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Described as the best example of Art Deco in Las Vegas, the school was designed by father-and-son architects George A. Ferris & Son of Reno, Nevada. The stucco-covered reinforced concrete buildings are decorated with a variety of polychrome medallions and friezes depicting animals and plants. The two-story academic building, measuring , is part of a seven- building complex within the larger Las Vegas High School Neighborhood Historic District. The gymnasium is of complementary form and construction, measuring .
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The most respected form of art, according to authors like Pliny or Pausanias, were individual, mobile paintings on wooden boards, technically described as panel paintings. Also, the tradition of wall painting in Greece goes back at least to the Minoan and Mycenaean Bronze Age, with the lavish fresco decoration of sites like Knossos, Tiryns and Mycenae. Much of the figural or architectural sculpture of ancient Greece was painted colourfully. This aspect of Greek stonework is described as polychrome.
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A church was begun at the end of the 16th century, at the site of a church once attached to the Abbey of Leno. The church, large for its community, had 5 chapels on each side. Six of them have polychrome marble altars today. Among the artworks in the church are large 18th-century canvases depicting the Defeat of the Rebel Angels, the Liberation of St Peter from Jail, and the Glory of St Joseph by Giuseppe Tortelli.
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Another of the early sculptors was Arnau Cadell who produced the capitals of the cloister of Sant Cugat. Portico of Glory. The round bulge carvings that have been preserved in polychrome wood usually depict either the Christ crucified in the type called Majesty or the Madonna with Child in the type called sedes sapientiae ("Seat of Wisdom"). An exceptional sculptural group is the Davallament of Sant Joan de les Abadesses, which shows the transition to the Gothic style.
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The single nave structure was erected in the late 17th-century atop an earlier structure. The facade was not completed until 1710. It has two frescoes at the entrance by Eliodoro Coccoli: St Ambrosius enters Milan and the Immaculate Conception. The interiors still retain the 17th-century altars, with marble bases and polychrome faux-marble, dedicated to the Madonna, the Sacred Heart, and containing altarpieces depicting Saint Antony of Padua and a Deposition with St Roch.
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It was commissioned by the Swedish nobleman Casper Otto Sperling, lord of nearby Rådmansö island and Ösbyholm manor. An external belfry was erected in 1812. Among the church furnishings, the triumphal cross and the baptismal font are from the 13th century. A medieval polychrome wooden sculpture depicting the patron saint of the church, Saint Olaf, formerly belonged to the church but is today on display at the Swedish History Museum in Stockholm; a copy is displayed in Frötuna Church.
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At the top, over the base of the skull, a large torus of ivy leaves is bordered by cords; the ivy is gilded, though the cords are not. In the middle, a smooth and concave transitional zone corresponds to the hollow of the neck. At the bottom, an acanthus rinceau, or scroll, is interspersed with birds and butterflies. Portions of the bottom ornamentation are gilded, giving the helmet, with all its silver, gold, and iron components, a polychrome appearance.
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Unsworth based his design for the polychrome Anglican church, the Church of the Good Shepherd (1909), on a church in Pistoia in Tuscany. This church is built in an Italian neo- Romanesque style. By contrast, the modern Church of St Teresa (1963, by Patrick Haughey), the Catholic place of worship, is admirable for its severely plain lines – a long rectangle with a striking representation of the Last Supper on the slate facade. Oisín Kelly was the artist.
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The first was discovered in 1943, on the junction of Venustiano Carranza and Pino Suarez, about two blocks south of the temple itself. The second chacmool was excavated in the sacred precinct.Miller 1985, p. 15. This is the only fully polychrome chacmool that has been recovered anywhere; it had an open mouth and exposed teeth and stood in front of the temple of Tlaloc, the Aztec rain god; its sculpted bowl probably received heart and blood sacrifices.
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Generally the ossuaries have been emptied of their bones. Some of the church buildings exemplify late Gothic architecture, while others are Baroque in style, and a number feature large belfries. The interiors are dominated by sumptuous Baroque decoration and statuary, much of it polychrome. Both the main altar and each of the many side and chapel altars are backed by a large retable, generally focusing on the Passion of Christ or the life and death of a saint.
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The spiraling steps of the minaret are accessed from the northwest arcade. The mosque is made of baked bricks, covered with clay on the exterior and plastered white on the interior. The courtyard façade of the great iwan is simply ornamented with polychrome tiles composed into geometric patterns. Inside, the decorative effort is focused on the mihrab niche on the qibla wall, which is framed with multiple bands of ornate arabesques and inscriptions carved in relief out of stucco.
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The museum also houses five polychrome glass circles are displayed, originating from the 14th century stained glass window which decorated the apse of the old church. They are the oldest vitreous work in Lombardy. The largest displays the Virgin and Blessing Child and shares with the two circles depicting the angels the peculiarity of the face and the hands devoid of color. The other two circles show, respectively, Saint Dominic Blessing and Peter of Verona, the first Dominican saint.
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Plain surfaced pottery replaced the corrugated pottery of the Pueblo II and III Periods. Red, yellow and orange ware and polychrome (multiple-colored) pottery replaced black-on-white pottery of the previous pueblo periods. The pottery was often mass-produced, high quality pottery, and in the case of the western Anasazi, included Kachina figure and symbol designs. Glazed pots, created when mineral paints on the pottery surface were fired at high temperatures, emerged in the Anasazi pueblos.
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Polychrome also discovers another quirk in the Pinkies' law: whichever person in the kingdom who has the lightest skin shall be Queen. Since Trot's skin is paler than Tormaline's, Trot becomes Queen of the Pinkies. (Tormaline is delighted to yield to Trot and become an ordinary citizen free from the requirement of poverty). Trot then uses her new power as Queen to mount an invasion of the Blue Country in order to recover the magic umbrella from the Boolooroo.
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Armorial Gate, The Armorial Gate () was a unique monumental erection of traditional Russian architecture. Situated in the Moscow Kremlin, the structure was symbolic of the centralized Russian state. Its name references polychrome tiles of the second floor, which displayed heraldic () emblems of formerly independent Russian principalities. When constructing a palace for Ivan III in the late 15th century, the Italian architect Aloisio built an interior brick wall inside the Kremlin to defend the royal palace from south and west.
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Since Athens had lost its dominant role in the Mediterranean pottery markets by this time, it should not be assumed that the form is a particularly Attic one, but rather that Athens adopted and went along with a generally prevailing trend in pottery production. The most common vessels shapes included pyxis, krater, hydria, amphora, pelike, jug, krateriskos, kantharos, chalice cup, kylix and lebes. Similar styles developed in the West Mediterranean. For example, the polychrome Gnathia style is closely related.
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Adelaide Avenue School is a historic school building located at Canandaigua in Ontario County, New York. It was built about 1890 and is a one-story, polychrome brick structure on a raised basement. It features a variety of picturesque late 19th century decorative features in the Queen Anne style, such as a multi-gabled roof surmounted by a louvred cupola. It is a typical example of a late 19th-century ward school, along with the Saltonstall Street School.
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The offerings included three polychrome plates with mammiform legs; the painted designs on the plates perhaps have astronomical significance. Burial PNT-001 dates to between 400 and 200 BC. It was inserted in a put among the infill of the upper level of the third version of the Lost World Pyramid (5C-54), under the summit ( including the summit bench).Laporte 1997, pp.337-338. He was laid out upon a large rock lying face downwards.
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Roberts led the excavations the following year as well. In 1933, the Peabody Museum returned under the direction of Samuel K. Lothrop. All three seasons of the Peabody excavations were successful, as 59 graves and 38 "caches" were discovered, as well as a large number of gold objects and polychrome ceramics. In the late 1930s, the Conte family asked the Peabody Museum to return for further excavations, a request that was denied by director Donald Scott.
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The first chapel on the right has an altarpiece of the Madonna of the Purity (17th century); the fourth chapel has a painting of the Martyrdom of St. Bartholemew (c. 1585) by the Flemish painter Aert Mytens. The high altar was designed in polychrome marble by Cosimo Fanzago. It frames the 15th-century fresco of Santa Maria di Costantinopoli; above it is a relief of God the father and to the side are statues of saints Rocco and Sebastian.
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The church is on the basilica plan, with a nave and two aisles, with a transept over whose crossing is the hendecagonal dome. The transept ends with three semicircular apses. Notable is the Majesty Portico (Pórtico de la Majestad), which houses the southern entrance. It was built in the reign of Sancho IV of Castile and León (1284–1295) and is decorated with polychrome sculptures depicting scenes of the life of the Virgin, Christ, and the Final Judgement.
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In 1489, a columned vestibule and octagonal sacristy, designed by Simone del Pollaiolo, known as Il Cronaca, and Giuliano da Sangallo respectively, were built to the left of the building. A door was opened up in a chapel to make the connection to the church. A Baroque baldachin with polychrome marbles was added by Giovanni Battista Caccini and Gherardo Silvani over the high altar, in 1601. The church remained undecorated until the 18th century, when the walls were plastered.
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The main altar, in a combination of white and polychrome marble, shows in a high niche a precious, gilt silver Gothic statue of Saint Blaise, crafted in the 15th century by an unknown local master. The saint shows in his left hand a scale model of the Romanesque church which was destroyed by the earthquake in 1667. He is flanked by two kneeling angels. This statue was the only one to survive the fire of 1706.
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A sculpting technique employed by the Spanish artist Juan Martínez Montañés in the 17th-century (Baroque Period), it is used to create lifelike sculptures, hence the name (which translates to English as 'incarnation' or 'bringing to life'The Making of a Spanish Polychrome Sculpture (exhibition), The National Gallery (London). Retrieved 2012-04-13.), which after carving and drying for 6 months are painted, varnished and sanded. These steps are repeated several times until a lifelike glow is achieved.
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Detail of a gilded, polychrome flow blue plate manufactured by Samuel Alcock, Staffordshire, "Hyson" pattern, c. 1843. Flow blue (occasionally 'flown blue') is a style of white earthenware, sometimes porcelain, that originated in the Regency era, sometime in the 1820s, among the Staffordshire potters of England. The name is derived from the blue glaze that blurred or "flowed" during the firing process. Flow blue vegetable server in the "Normandy" pattern produced by Staffordshire potter Johnson Brothers c.
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The only walls still standing belong to the dormitories of the canons and the chapter house, which is the focus of the site with its polychrome decoration and floor tiling. The rest of the site is buried under 2 meters of earth. The remains of the abbey church and cloister were located during the first surveys carried out in the late 1990s. The abbey owned a town house or hostel in Soissons, of which only the cellars remain today.
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The arts of China by Michael Sullivan p.19ffChinese glazes: their origins, chemistry, and recreation by Nigel Wood p.200 The full polychrome sancai combination appears shortly before the end of the 7th century. After only about 70 years, the production of tomb figures seems to have ceased almost completely with the very disruptive An Lushan Rebellion of 755, followed by a Tibetan invasion of the north in 763, but the vessels continued for another fifty years or more.
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The walls and the pendentives are covered with polychrome Iznik tiles. Around the room above the windows is a band of inscriptive tiled panels. The text quotes the Throne verse and the following two verses from the Quran (2:255-58). In addition to the tomb of Suleiman the Magnificent, the mausoleum houses the tombs of his daughter Mihrimah Sultan and those of two later sultans: Suleiman II (ruled 1687–1691) and Ahmed II (ruled 1691–1695).
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A Gothic presbytery is the oldest part of the church. Eight high pillars divide the church interior into 3 naves. There are many valuable 16th-century wall paintings in Bernardine church and the oldest known artistic Lithuanian crucifix sculpture from the 15th century. The walls of the naves are decorated with Gothic polychrome frescoes, partly uncovered in 1981 - dynamic, colourful figural compositions on biblical and hagiographic themes, with occasional inscriptions in Gothic characters, floral ornaments, heraldic insignia etc.
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The contribution to the polychrome Old Town Square, Artymowski along with other artists in 1953 received the State Award Grade II. In 1955 he traveled to Denmark. In 1957, after his appointment as editor of Art Review by Aleksander Wojciechowski, Artymowski joined the reformed magazine Editorial Team. This cooperation continued until the solution Art Review in 1960. In the spring of 1957 he traveled to Artymowski Yugoslavia, organized in conjunction with the exhibition there of contemporary Polish painting.
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The building is a flamboyant Egyptian Revival Temple in Art Deco style. It was designed by Thomas W. Lamb, an architect noted for designing theaters. He created "a midblock facade of movie-set Egyptian forms, seated Pharaonic figures, polychrome columns and a setback arrangement ... Inside, there were 13 lodge rooms and an auditorium decorated in a striking Egyptian manner." In addition to the thirteen lodge rooms and the spacious theater, the building had a gym and a bowling alley.
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Executed in 1270, it was initially located in the Romanesque presbytery, and moved to its present position in 1778. The high- relief sculptures, in Apuan marble are engraved with "Realizzato nel 1270," originally had a polychrome glass background, now mostly lost. At the steps of the columns are sculptures of lions. In the presbytery is a polyptych by Taddeo Gaddi (1350–1353) depicting the Virgin with Child with the Saints James, John the Evangelist, Peter and John the Baptist.
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3, Beograd 1962; Četvrta jugoslovenska umetnička izložba, Beograd 1912. (Zbornik Narodnog muzeja u Beogradu, XVIII – 2 istorija umetnosti, Beograd 2007. ) Art Nouveau features of this facade are the vertical division with shallow pilasters, asymmetry, horizontal cornices which do not reflect the level of internal division of levels, shallow embossed floral decoration, segmental-arched shapes of window frames, and polychrome. Especially interesting is the square tower on the corner of the building, with a prominent oriel window.
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The exterior is characterized by a typical Tuscan blend of Romanesque and Gothic styles, with a polychrome decoration of the façade. Over the portal is a statue of St James, attributed to Orcagna. The bell-tower, much altered over the centuries, was occupied in the 15th century by the Cancellieri family in their battles with the Panciatichi family. A chapel once at its base was frescoed in 1348 by Paolo di Stefano and in 1441 by Bartolomeo da Giovanni.
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The Sanchez variant has a "slightly out- flaring rim resembling Glaze C rims, but thicker" (Wilson 2005:54). This rare variant consists of bowls, which are found north of Albuquerque. Late in the sequence, a variant appears in which black paint designs appear over contrasting interior and exterior slips, with Glaze F rims. This combination is called Kotyiti Glaze Polychrome, however, the same name is used for F rim examples with red-and-black painted designs (see below).
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Utilitarian pavement in opus figlinum, simple opus tessellatum or opus lithostroton were utilised for service areas or corridors. More private rooms were generally paved with black and white geometric mosaics with a limited amount of polychromy. The most expensive pavements are those in opus sectile and polychrome figurative opus tessellatum, used in reception rooms and decorative fountain pools respectively. It is unknown whether the owner received clients for dispensation of gifts and to receive their salutations.
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The latter of these is called the "cut-glaze" technique.Vainker, 116-117 Slipware may be carved or burnished to change the surface appearance of the ware. Specialized slip recipes may be applied to biscuit ware and then refired. Barbotine (another French word for slip) covers different techniques in English, but in the sense used of late 19th-century art pottery is a technique for painting wares in polychrome slips to make painting-like images on pottery.
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Medina is particularly known for her polychrome ollas and jars, featuring cream-colored and tan slips that her mother-in-law also uses, as well as rose-red and orange slips. Her favorite designs include roadrunners, robins, berry bushes, flowers, rain clouds, rainbows, fineline hatching, and some turtle effigy lids. Occasionally she produces plain pots for her husband Marcellus to paint with designs of Zia dancers. She uses a combination of sheep and cow manure to fire her pots.
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The critical reaction to the fountain when it was opened in 1860 was divided. Much attention was given to the different colors: The critic of Le Monde Illustré wrote: "the monument constitutes, in sum, a venture into polychrome architecture such as one can see in Rome, where fountains of the same style were created by artists of the 18th century."François Lacour, Fontaine Saint-Michel, Le Monde Illustré, May 8, 1858, pg. 295. translation by D.R. Siefkin.
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Offering 4 contained only an inverted polychrome bowl. A large offering was buried under the upper part of the ramp and was excavated by Pedro Armillas, the excavated artefacts passed into private ownership and their location are now unknown. The Offering included two large stone discs similar to that uncovered in Offering 2\. Upon each disc was placed a four-legged ceramic vessel and underneath each disc were three stone balls measuring between and placed in a triangle.
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Meanwhile, he worked on several dramas, Królowa Polskiej Korony (The Queen of Polish Crown), Warszawianka (Varsovian Anthem) and the first version of Legenda (Legend). The play Legenda (Legend) was based on the famous Polish legend of Wars and Sawa. In August 1894 he returned to Kraków, where he got involved in the modernist movement. It was then he designed and partially made a polychrome for the Franciscan Church that was composed of flowery, geometrical and heraldic motifs.
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Smellie's Building is significant as an accomplished and intact example of an 1890s warehouse with a finely detailed polychrome brick facade. The building is a good example of the industrial work of well-respected Brisbane architect, CW Chambers. The place is important because of its aesthetic significance. Smellie's Building is significant for its contribution to the Edward Street streetscape in association with the Port Office, Old Mineral House, the Port Office Hotel and the Naval Offices.
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The high altar, which until the 19th century was in the middle of the nave, is now in the south-western apse; the opposing apse has a wooden catafalque of the 17th century, housing polychrome statues of the martyrs Gabinus, Protus and Ianuarius. The aisles led to the anti-crypt, in Renaissance style with statues of martyrs, and the crypt, which houses ancient Roman sarcophagi; the latter in turn house remains attributed to the Turres' martyrs.
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The earliest ceramics were "coarsely polished, deeply incised brownware and a burnished polychrome incised ware". Later the Qeya style became popular during the Tiwanaku III phase, "Typified by vessels of a soft, light brown ceramic paste". These ceramics included libation bowls and bulbous-bottom vases.Bray, Tamara L. The Archaeology and Politics of Food and Feasting in Early States and Empires, New York: Kluwer Academic/Plenum Publishers, 2003 The Staff God was a common motif in Tiwanaku art.
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Apart from the proto-cuneiform tablets, Jemdet Nasr gained fame for its painted polychrome and monochrome pottery. Painted pots display both geometric motifs and depictions of animals, including birds, fish, goats, scorpions, snakes and trees. However, the majority of the pottery was undecorated, and the fact that most painted pottery seems to have come from the large central building suggests that it had a special function. Pottery forms included large jars, bowls, spouted vessels and cups.
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Retable-type altarpieces are often made up of two or more separate panels created using a technique known as panel painting. The panels can also display reliefs or sculpture in the round, either polychrome or un-painted. It is then called a diptych, triptych or polyptych for two, three, and multiple panels respectively. In the 13th century, each panel was usually surmounted with a pinnacle, but during the Renaissance, single-panel pala altarpieces became the norm.
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It most clearly reflects the polychrome and Picturesque modes. The woodwork around the main entrance also shows hints of the emerging Stick style; there was one more at the gables, but it has been lost. In 1940, a Federal Writers' Project guidebook would describe it as "in the Norwegian chalet style". It was one of the last libraries to use natural light for its reading room. The original 2,200-volume collection grew quickly, as did the membership.
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Both are dated in the twelfth century and are the work of Ramon de Bianya. In the fourteenth century a stone altar was added to the church dedicated to the Virgin which is kept in a museum in Boston. In the temple there is also a fifteenth-century altarpiece dedicated to Santa Ana originating from a chapel that was in the ancient gateway city. There is also a polychrome stone carving from the fourteenth century which depicts St. Paul.
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The interior of the church was richly decorated. The walls were plastered and painted in white and maroon with geometric patterns and lines designed to give the impression of ashlar masonry. Architectural detail was also picked out in maroon. The floors were covered in polychrome encaustic tiles featuring foliage, heraldic beasts, and coats of arms including those of England, France, the Holy Roman Empire, Queen Eleanor of Castile, Richard of Cornwall and many powerful noble families.
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Medieval heraldic polychrome tiles found on the site can be seen in the sacristy, and Henry III's foundation stone remains in the church. The abbey ruins are set in wooded parkland to the west of the village of Netley and constitute the most complete surviving Cistercian monastery in southern England. The site is maintained by English Heritage, and is open to the public.. Retrieved on 29 July 2008. Netley is an Ancient Monument protected by law.
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These elevations are sheathed in a smooth- dressed granite base up to the first story, and limestone blocks from the second to the fourth story. Most of the Washington Avenue facade is recessed at the third and fourth floors with engaged green serpentine columns highlighted by terracotta Corinthian capitals. The entire composition is topped by a polychrome terra-cotta entablature. Metal spandrel panels are below the third-story windows and marble spandrels below the fourth-story windows.
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Decoration of the house includes polychrome painting, trompe-l'oeil murals in the eye of the dome, original wallpapers produced by Xavier Mader for the manufacturer Joseph Dufour et Cie, candelabra and chandeliers by Pierre-Philippe Thomire, and original Empire and Restauration period furniture. The château remained in ownership of Jobez descendants until 2001 when the property was acquired by Brigitte Cannard and Claude Darbon who occupy a portion of the house and offer tours and concerts there.
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Consequently, the ornamentation and hair style worn by an individual would be dictated by their gender and age. The figurines would be seen as "bodily representation". In her analysis of ceramics, Joyce had compared the Playa de los Muertos – Ulua Polychrome art with the Lower and Central American and Classic Lowland ceramics. In all of these cases, figurines of men and women are usually represented doing some sort of labour or with objects related to labour.
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There are several holes, due to excess moisture, on the original mural painting on the central apse that have not been restored. A polychrome wood carving and other objects are also located inside the church, some of which were successfully restored."Clement Taüll" Sant Climent de Taüll had the earliest wooden altar-frontal, which was 1.36 m × 0.98 m in size. When it reached Barcelona it was covered with a coat of paint which was removed.
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The Tin Woodman, the Scarecrow, and Woot journey into the Gillikin Country and encounter the inflatable Loons of Loonville, whom they escape by popping several of them. They descend into Yoop Valley, where the giantess Mrs. Yoop dwells, who transforms the travelers into animals for her amusement, just as she has already done to Polychrome, the Rainbow's Daughter. Woot steals a magic apron that opens doors and barriers at the wearer's request, enabling the four to escape.
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It is a two-story brick structure with a cross gable roof. The house is an example of the Queen Anne style in brick, although it has lost some details (notably its porch and decorative elements on its chimneys). A two-story turret is capped by a roof with polychrome and varied-shape slate, with a textured frieze board just below its roof line. The house was listed on the National Register of Historic Places in 1996.
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The building comprised a four-storey (semi- basement and three upper floors) late Victorian Warehouse of load-bearing polychrome bricks with sandstone string courses, cornices, sills, copings and granite thresholds to doors. The building is divided into five fire separated compartments by vertical cross walls. Within each section are two rows of circular cast iron columns supporting iron girders, timber joists and a 50mm tallowwood floor. The ground floor was paved with Val-de-Travers asphalt 38mm thick.
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The church was originally ancient, built in romanesque- style, but has undergone numerous reconstructions, including major ones in the early 19th century, and in 1957. Traces of the romanesque structure remain on the left side. Once serving a parish church, since 2011 services have mainly transferred to a new parish church. The church still houses a late 15th- century polychrome sculptural group of the Pietà, a masterwork of Francesco di Giorgio Martini, likely helped by Giacomo Cozzarelli.
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The land adjacent to the reservoir provides space for a number of buildings, including WPS 1, former workshop buildings, and two other modern buildings. The whole site is surrounded by a substantial and early sandstone, brick and wrought iron palisade fence. The workshop building is a two-storey polychrome (red and white) brick structure, on the Reservoir Street frontage. Its original roof has been replaced by a skillion corrugated iron roof, and many other alterations are evident.
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A three-storey Federation commercial building, with a symmetrical Inter War Functionalist shopfront with recessed central porch that has a polychrome terrazzo floor. The display windows on either side are surrounded by black Vitrolite relieved by two fine stainless steel strips. The name of the store is located in the hamper and consists of large individual stainless steel lettering in a stylised "modern" letter face. Other lettering includes the street number mounted at the top of the display windows.
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In 1986, the dioceses of Monopoli and Conversano were joined, making this a co-cathedral. The Chapel of Our Lady of Madia has elaborate polychrome decoration on the altar. The chapel contains two large canvases by Pietro Bardellino, and there are 6 small 18th-century paintings depicting the Life of the Virgin by Michele del Pezzo. A series of four paintings (1732) in the Chapel of the Martyrs by Michelangelo Signorile (painter) recounts the Miracle of the Raft.
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A vase is located above a pedestal at each end and centred above the parapet is a triangular pediment. This has the words "ERECTED 1882" engraved on the surface. Internally the building has suffered with its changing ownership, but although the original internal columns have been encased some traces of their original decoration remain. The rear polychrome brick facade of the building has a carefully composed elevation of arched openings with the stone base partially exposed.
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Crucifix, c 1150–1200. Spanish. White oak, polychrome, gilding and applied stones The Fuentidueña apse contains a c 1150–1200 white oak, red paint, pine and gilding and monumental Crucifix hanging before it."Crucifix". Metropolitan Museum of Art. Retrieved 2 May 2016 The cross is 178 cm high and 260 cm wide, and believed to originate from the convent of St Clara at Astudillo, near Palencia, in north-western Spain, though records are unclear and that is contested.
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This is the finest and last surviving of three grand theatres formerly located in Okmulgee. The Orpheum's architecture, which is an elegant derivation of Spanish Baroque Revival, includes a colorful lobby which is the finest example in Oklahoma of the interior use of polychrome terra cotta. The historic Okmulgee County Courthouse, at 314 W. 7th, was built in 1916 and is also NRHP listed. The Creeks initially built a two-story log council house to serve as their capital.
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The Brown Mountain Gatehouse, also known locally as "The Lodge", is near the southwestern corner of the park on Maine State Routes 3 and 198. It is a small complex consisting of the gatehouse, a caretaker's house, and carriage house, and was designed in the Tudor Revival style by Grosvenor Atterbury. It is built of rubble-stone masonry, with occasional bands of precisely-laid dressed stone and brick. The buildings are roofed in polychrome terra cotta tile.
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A belfry was erected and the sculptures in the interior were created in the 18th century. In 1859 the polychrome interior décor was enriched. East of the church lies a square, in which the Convent of the Barefoot Carmelites once stood alongside a Baroque Church of St. Joseph the Betrothed established in 1638 by the Vice-Chancellor of the Grand Duchy of Lithuania Stephen Pac. Its exterior was reminiscent of the Church of St. Theresa, Vilnius.Prof.
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Partially preserved are also polychrome (saturated red and blue colors) niches. The oratory has two groin vaults with ogee moulded vaulting ribs, yielded by brackets with once again vegetal patterns. The northern boss is speculated that to have been shaped like the sun, while the southern boss like a crowned face. It is also speculated that other chambers of the first floor served for private purposes, except for the unpreserved transverse hall located in the west wing.
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Her first piece at the Royal Academy of Arts was a terracotta panel: "David playing before Saul" (1885). From that date she had works at R.A. Exhibitions in most years up until 1918. By 1893 she was sufficiently well known to be commissioned to provide four plaster relief figures for spandrels in the Woman's Building (Chicago) of the World Columbian Exposition in Chicago. Each polychrome panel was nearly six feet tall, and represented Faith, Hope, Charity and Heavenly Wisdom.
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Mural Paintings from the Herrera Chapel conserved at MNAC Barcelona. Most of the works of art and funerary monuments in the church were transferred to Santa Maria in Monserrato. What remains in the church are some Renaissance works, such as a chancel in polychrome marble and the marble backdrop behind the high altar. The altarpiece of the Assumption of the Virgin with Glory of Angels and Apostles was made by Flemish-born painter Francisco de Castello.
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The recent studies indicate that most of arrowheads and spearheads were fused from crude materials of local origin with supplementation of imported tin. On the III layer of the, I Kul-tepe were found wall remnants of four-shaped houses, monochrome and polychrome clay pots and stone tools. In the Dize necropolis revealed in 2008, were found a pitcher and a cutting tool made from flint. Sharur archaeological expedition investigated three kurgans, grave monuments and fragments of painted dishes.
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The mosque is oriented along the northwest-southeast axis with a courtyard to the northwest with an area almost equal to that of the mosque itself. the courtyard has monumental entrance portals on each side. The courtyard is a colonnaded peristyle, with twenty ancient columns of porphyry, verd antique and granite salvaged from churches and ancient ruins, roofed with 24 small domes, and with a pavement in polychrome marble. The mosque itself is approximately square, with a diameter dome.
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Theodore Roosevelt's 1902 White House renovation removed all of the Tiffany influence. In Tiffany's redecoration, Old South's stained glass windows were covered by insets of translucent tinted purple glass. The original polychrome stenciled plaster walls were painted purple, then stenciled in a series of geometric patterns with metallic silver paint intended to appear as mother of pearl inlay. Similar to Tiffany's work at Mark Twain's Hartford, Connecticut home, or his design for the White House's Red Room.
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Among other things, she had an ornate wooden, polychrome Gothic ceiling reproduced in detail in the chapel. Further elements of interior design and decoration are also replicas from the 17th century and are from different churches in Switzerland. The sculpture "Dance of Death" by the Swiss sculptor Hans Jörg Limbach (1928-1990) is located directly next to the chapel. The Bürgenstock Chapel also became famous because of the wedding of actress Audrey Hepburn with Mel Ferrer in 1954.
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Public School No. 60, also known as Riverside Academy, is a historic school building located in the Riverside neighborhood of Buffalo, Erie County, New York. The original section was built in 1898, and is a three-story, 12 bay, "I"-plan red brick building with Renaissance Revival detailing. It sits on a raised basement and features polychrome, stepped façade, quoining, and classical entrances. A substantial three-story rear addition was built in 1922 and includes an auditorium.
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Israel Soteno working on a piece in the family workshop Pottery in Metepec and the rest of the Toluca Valley began in the pre Hispanic period during which both utilitarian and decorative/ritual items were made.Artes de México p 42-43 Pottery in the Valley of Toluca shows strong Nahua influence, especially Aztec. This is especially true for urns, braziers, cups and plates. Another important influence was from the Cholula area of Puebla in the use of polychrome decoration.
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The archive covers the period between the Gothic ages to the end of the 19th century. Another IOF archive, the "World of Ornaments" consists of 5,000 motifs based on the two greatest encyclopedic collections of ornament from the 19th century chromo-lithographic tradition: Auguste Racinet's L"'Ornement polychrome Volumes I and II" from 1875–1888 and "M. Dupont-Auberville's L'Ornement des tissus" from 1877. The IOF also is participating in museum and exhibition projects of mural and fresco art.
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This will remain the artist's permanent and official studio until his death, also hosting ca. eighty sculptures (gessos, polychrome terracottas, bronzes, waxes) and thirty graphic works (lithographies, pastels, acquarellos, pencil drawings) donated to the Comune di Milano. In 1978 Messina attended two important exhibitions in the Soviet Union at the Pushkin Museum of Moscow and at the Hermitage of Saint Petersburg, both of which will open dedicated sections of his sculptures, with ca. 80 pieces on display.
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After the suppression of the religious orders in 1808, the ornate main altar completed by Dionisio Lazzari was transported to the Capella Reale of the Royal Palace of Naples, where it still can be found. The altar started in 1672, has two carved lateral doors (1691), a ciborium (1772), all in polychrome pietre dure and lapis lazuli and framed in gilded bronze. In this church, the replacement altar (1772–1773) derives from the church of Divino Amore.
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The Chapel of Medici di Gragnano, which holds the tomb of Camillo de' Medici (1596), was decorated in a sumptuous Tuscan style, the first of its kind in Naples, using polychrome inlay not only in pavement but also in walls. The chapel and monument are works by Girolamo D'Auria and Fabrizio di Guido. This chapel is off the left nave.Inventario de' monumenti of the church dei Santi Severino e Sossio, ms 1872, Biblioteca Nazionale di Napoli, Bibl. Prov.
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Mosaic detail, as found in the Shah Mosque, showing Quranic calligraphy written in Thuluth script (photo taken at the Lotfallah Mosque). Interior view of the lofty dome covered with polychrome tiles, intended to give the spectator a sense of heavenly transcendence. A 3D panorama of interior of the main prayer hall. The Masjed-e Shah was a huge structure, said to contain 18 million bricks and 475,000 tiles, having cost the Shah 60,000 tomans to build.
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The inscriptions found in S. Agostino, a valuable source illustrating the history of the church, have been collected and published by Vincenzo Forcella.V. Forcella, Inscrizioni delle chiese e d' altre edifici di Roma, dal secolo XI fino al secolo XVI Volume V (Roma: Fratelli Bencini, 1875), pp. 1-112. [in Italian and Latin] In 1741, Pietro Bracci designed and sculpted the polychrome tomb of Cardinal Giuseppe Renato Imperiali, who died on 15 January 1737.Forcella, p.
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The town was declared a national cultural-historical site in 1985. Its main attraction is the Cathedral, begun in Romanesque style around 1230. It reflects an unusual mixture of styles: Gothic in the nave and the aisles, and Baroque in its 18th-century towers. The polychrome statue in the high altar, called Nuestra Señora la Inglesa (the English Madonna) was rescued from St Paul's Cathedral in London during the Protestant Reformation of Henry VIII of England.
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The McClanahan Block is a historic building located in Iowa Falls, Iowa, United States. The city experienced a devastating fire in 1874, and most of the buildings on this block were built after the fire giving them a commonality of design. This two-story commercial building, completed in 1913, stands out given its polychrome brick and the simplicity of its design. with Its decorative elements are found in the patterns created on its surface utilizing the bricks.
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This entrance leads to the principal courtyard, the focal centre and the main thoroughfare to the rest of the house. Polychrome marble tiles, forming a "carpet" in front of the iwan, precede the great fountain in the courtyard, with its games of water, stone basins and cascades. The fine wall decorations in the courtyard are said to have been carved by the Armenian sculptor Khachadur Bali a member of the Balyan family of Ottoman court architects.
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They also inserted the "much discussed"< dome, tile-patterned on the exterior and with a polychrome Hispano-Moresque interior dome, which substituted for the spire that had been planned but never built. Completed in 1930, the church contains stained-glass windows and mosaics by Hildreth Meiere, and a marble baptismal font by the Danish follower of Canova, Bertel Thorvaldsen. St. Bartholomew's was completed at a cost of $5.4 million. The church is known for a wide range of programs.
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These were repurposed by Count Giuseppe Simonetta (died 1733) with construction of a lodge. The monastic church was formulated as a family chapel, refurbished in Baroque style with a polychrome marble altar. The villa was transferred from the Simonetta to the Castelbarco family by the late 18th-century, when Francesca Simonetta married Count Cesare Castelbarco. This count pursued renovation of the buildings and surrounding area, which had been used as a hunting lodge in the past.
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The tserkva in Owczary was raised in 1653. The tserkva is the second building of its type in this location - the first collapsed due to quicksand in its foundations. In 1701, the tserkva's chancery underwent extensive renovation, the tower was built in 1783 (built by meisters Dimitr Dekowekin and Teodor Rusinka), in 1870, the building was widened, to have equal measurements to that of the nave. In 1938, the tserkva's interior was decorated with a polychrome.
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The main entrance is one of the diner's original entrances, at the western (street-facing) end, sheltered by a canopy; the eastern entry to the diner now provides access to the addition. The exterior of the diner is finished in porcelain enamel panels with integral polychrome graphics, and the entry doors are stainless steel. The interior features a marble counter, fourteen counter stools, and booths lining the southern wall. The booths are wooden, with tables that have laminated tops.
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All the new furnishing boasted carved wooden elements such as trefoil piercings that enhanced the Gothic feel of the church. They were complemented by the stenciled walls, polychrome tile floor and hanging brass lanterns. While this primarily reflects the ascendancy of Aestheticism in popular design at the time, the lingering Ecclesiological influence shows in the center aisle, which puts the nave and chancel along a single axis. Later work on the building aimed to restore and preserve it.
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The church was erected in 1649 at the site of a prior church, San Salvatore. In 1682, it was assigned to the Jesuit order, which had arrived in Fermo in 1609, and retitled Chiesa del Gesù. The facade remains incomplete, but the interior is richly decorated with polychrome marble. The main altar designed by Domenico Egidi, houses a canvas depicting the Circumcision (1670) by Giovanni Peruzzini, who also painted a canvas depicting Sant’Ignazio for the church.
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The design, by architect Edward Emmett Dougherty of the architectural firm "Dougherty and Gardner" was of the elaborate Beaux-Arts or Renaissance Revival style. The exterior is sheathed with glazed polychrome terra cotta.Christine M. Kreyling, Wesley Paine, Charles W. Warterfield, Susan Ford Wiltshire, Classical Nashville: Athens of the South, Nashville, Tennessee: Vanderbilt University Press, 1996, p. 60 In the 1940s and 1950s, the building consisted of office space for many of the city's doctors and dentists.
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Due to the similarities between the Hellenistic wall paintings at Delos and the First Style of Pompeii, Joyce contends that the differences in Delian and Pompeian mosaics are the deliberate product of artistic preference rather than the result of ignorance of each other's traditions. These differences include the widespread use of opus signinum at Pompeii, with only four known examples at Delos; the use of opus sectile at Pompeii and its complete absence at Delos; the prevalent use of polychrome patterns and intricate, three-dimensional figured designs in Delian mosaics versus two-dimensional designs at Pompeii, which at best utilize two colors. Complex three-dimensional figured mosaics using polychrome designs to achieve the illusion of light and shadow were not produced at Pompeii until the Pompeian Second Style of wall painting (80–20 BC) and are considered an adoption from Hellenistic art trends. While lead strips were used in Hellenistic mosaics of Delos, Athens, and Pella (Greece), Pergamon (Turkey), Callatis (Romania), Alexandria (Egypt), and Chersonesus (the Crimean peninsula), they are absent in Western Mediterranean mosaics of Malta, Sicily, and the Italian peninsula.
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The striking north elevation consists of a polychrome arched loggia to the ground level opening from the building to the garden and swimming pool area. Verandahs to the first and second floors are divided into bays by brick piers and infilled with painted timber slat balustrading. These verandahs overlook the garden and swimming pool. The associated grounds of the Edith Cavell Block form part of the larger residential precinct associated with the Lady Lamington Nurses' Home, Superintendent's Residence and Ward 15.
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The portico entrance contains a marble and sandstone memorial commemorating the laying of the foundation stone by the Governor, Sir Matthew Nathan. Dramatically posed on the west ridge at the summit of the steeply sloping Hospital site, the Edith Cavell Block affords sweeping views across to the north of Brisbane. The building is a three- storey, H-shaped, facebrick building with a partial basement. The south elevation is symmetrical about a projecting central bay with a polychrome arched loggia entrance at ground level.
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The Parish Church of Our Lady of the Assumption dates from the 18th century. It was completed in the same year as the New Cathedral of Salamanca (in 1733). It has a notable pulpit of polychrome granite from the 16th century and is renowned for the Blessed Christ of the Sweat. The church tower was built about 212 years before the present church, paid for by the first Duke of Alba, with his coat of arms visible in a corner of the Tower.
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The image which originally leads to the construction of the religious complex is a medieval polychrome (only in the front face) sculpture carved in wood. It depicts the Virgin holding baby Jesus, imparting the blessings with the right hand while holding a ball on the other. The image was restored in 1948 by the Institute Príncipe de Viana. The Imperial State Crown, which belongs to the Crown Jewels of the United Kingdom, was created in 1838 for the coronation of Queen Victoria.
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Hansen's famed Musikverein in Vienna is one of the most notable concert halls in the world; a concert hall whose design and acoustics are often admired and copied in present-day music houses. Academy of Athens, next to the University of Athens and the National Library (not shown) forming "the Athenian Trilogy". The Academy and the University buildings were designed by Theophil Hansen (1885) in Greek Ionic, academically correct even to the polychrome sculpture. The statues and columns were worked by Leonidas Drosis.
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Techniques improved considerably during the prosperous times of the Scythian state. The Sarmatians conquered and then occupied the Scythian kingdom. This culture brought along new traditions, including Polychrome style, an example of which is a process by which an image of an animal's body is covered with inserts of blue paste or turquoise in soldered mountings Greek jewellery, 300 BCE, showing a Heracles knot Greek art of the Black Sea region influenced the Sarmatian style. Most notably it increased the color range.
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Bust showing how inhabitants of the Parkin Site may have looked, based on an effigy pot Head pots are jars shaped like human heads, typical male, and the figures commonly appear to be deceased. They are typically 3–8 inches tall, with smaller vessels found in the Arkansas River Valley. The polychrome pots feature red, cream, and black slip on buff clay.Power 145 Most were made between 1200 to 1500 CE in the Central Mississippi Valley area of Arkansas and Missouri.
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The monochromes were restored in the 19th century by Vincenzo Camuccini. The panels of the vault are covered by a lush floral decoration on a golden background with images of prophets in medaillons. General view The profusion of polychrome decoration is complemented by the maiolica floor tiles, contemporary works from Deruta, which show heraldic devices, Della Rovere trees, animals and other decorative motifs. The five lunettes are decorated with Stories from the Life of the Virgin, now much damaged and repainted.
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The ceilings are decorated with spectacular polychrome floral composition decorations in high relief plaster in Modernisme or Art Nouveau style. Handcrafted wooden doors and sliding doors are artistically carved with decorative cups designs. The rear facade is composed of a ground floor on top of which rests a large terrace coated on white marble trencadis where a semicircular platform of wood, iron, ceramic and multicolored came glasswork rests forming a large semi-circular stained glass window with floral Modernisme decoration.
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When the building was erected, Gorham supplied the bronze ornamentation for the facade on the top floors, fifth- floor balconies, and ground level, manufactured to designs by White. The ornamentation accounted for 10% of the building's $1.25 million construction cost. The copper cornice at the top of the building, once having been polychrome and gilded, has corroded to a green color. The middle floors were more simple, though a cartouche with lions was installed on the top of the fourth floor.
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The church is characterized by a small nave with apse, covered by a gable in turn supported by wooden trusses with decorated warping. The flooring is made of terracotta brick, while the walls are painted in a light colored parchment, itself decorated with polychrome socket boxes. Preceding the altar there are a round arch and a tympanum above it, which depicts two angels in prayer. In the tympanum there is an oval inside which is enclosed a radial cross termed Salus Mundi.
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Louisville is a village in the Corozal District of the nation of Belize, located at . According to the 2000 census, it had a population of 655 people mainly from Maya Mestizo ancestry. Some substantial artificial mounds at Louisville are the remains of an ancient city of the Maya civilization. The site seems to have been occupied from about 400 BC to about 950 AD. Excavations, made here by Dr. Thomas Gann in the mid-1930s, uncovered polychrome stucco portrait heads.
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Sampson Erdeswick is buried in the church among his ancestors, with a very large elaborate polychrome monument in which his costumed effigy is recumbent below, with two deep-set kneeling female mourners (his wives) in arched recesses over. At either side, columns with Corinthian order capitals support a double entablature in the late Elizabethan style, framing an inscription and (formerly) with obeliskoid finials. The whole is overlain with a copious display of heraldic escutcheons and surmounted centrally by a crest.
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The belltower was built between 1825 and 1837, and the refectory connecting it to the main church several years later. The interior was lined with polychrome marble, and the icon screen also was of marble. Several churches in the region, including the Nativity Cathedral in Chişinău, were built in conscious imitation of the Odessa church. The cathedral was the burial place of the bishops of Tauride (including Saint Innocent of Kherson) and Prince Mikhail Semyonovich Vorontsov, the famous governor of New Russia.
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In addition to Ordinary and Service Uniforms, Carabinieri personnel of the 7th Carabinieri Regiment "Trentino Alto-Adige" wear two uniforms. The "Rip-Stop" uniform is a Ripstop Midnight blue combat dress, different from operational suit for riot control used by units of the 1st Carabinieri Mobile Brigade. The other uniform is the polychrome combat dress uniform of the Italian Army. After the completion of the training, Carabinieri of the Regiment are awarded of the black beret with a burnished Carabinieri flame.
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Above it is a mansard roof with gabled dormer windows shingled in fish-scale polychrome slate, pierced by two brick chimneys on the eastern side. The tower has a similarly treated pyramidal roof whose flat top is crowned with a finial. The south (front) facade has a small wooden hood on its centrally located main entrance, reached via a small set of stone steps. Ivy climbs up the southeast corner almost to the roofline and on the west side of the main entrance.
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The Huns used a type of spatha in the Iranic or Sassanid style, with a long, straight approximately 83 cm blade, usually with a diamond shaped iron guard plate. Swords of this style have been found at sites such as Altlussheim, Szirmabesenyo, Volnikovka, Novo-Ivanovka, and Tsibilium 61. They typically had gold foil hilts, gold sheet scabbards, and scabbard fittings decorated in the polychrome style. The sword was carried in the "Iranian style" attached to a swordbelt, rather than on a baldric.
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Revised edition 1986. () Toward the end of the period, polychrome (multicoloured) silk embroidery became highly desirable and fashionable for the public representation of aristocratic wealth.Digby, George Wingfield: Elizabethan Embroidery, Thomas Yoseloff The origins of the trend for sombre colours are elusive, but are generally attributed to the growing influence of Spain and possibly the importation of Spanish merino wools. The Low Countries, German states, Scandinavia, England, France, and Italy all absorbed the sobering and formal influence of Spanish dress after the mid-1520s.
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K'awiil as represented on a Maya vase (figure at left). On his forehead he has a mirror penetrated by an axe or other instrument Maya mirrors and their use are depicted on Classic Maya polychrome ceramics, where pictorial vases frequently depict scenes from courtly life. One vase depicts an anthropomorphic dog staring into the depths of a vase, behind the vase an anthropomorphic monkey dances while staring into a mirror held up in one hand.Healy and Blainey 2011, p.232.
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The layout, in which the spire is located to the east of the chancel, is unusual and rarely found. There is polychrome decoration dating from the end of the 18th century, which features figurative, vegetative and geometric motifs. On the chancel ceiling you can see a painting of The Assumption of the Blessed Virgin Mary, while in the nave there is The Transfiguration of Our Lord on Mount Tabor. The main altar contains an 18th-century painting of St. Erasmus.
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The rear of the church is almost completely covered with the organ, made by Johann Conrad Werle in 1767. The gilded balustrade and the wooden front of the organ were executed in Rococo style by Bernardino Mammucari, Francesco Michetti and Carlo Pacilli. Above the organ stands a glass window representing "the Penitent Magdalene", realized in the last decade of the 19th century by Gabriel and Louis Gesta di Tolosa. The pulpit was executed in polychrome marble and dates from 1937.
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Similarly, the interior of the villa with polychrome marble walls and mirrored ceilings was completed long after Napoli's presence. The Villa Palagonia was a favorite stop for travellers on the Grand Tour like Patrick Brydone, the Comte de Borch, Goethe, and John Soane among many others. Napoli also designed the piazza in front of the church of San Domenico in Palermo with its column dedicated to the Immacolata. He received imperial support from the court in Vienna for this project.
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Previous to the construction of S. Peter's cemetery, corpses were buried around this church; it was enlarged and renovated in 1724 and furtherly improved in 1878. Some interesting works are preserved in its interior, such as the polychrome inlaid high altar and the splendid Rosary kaltar, with marble marquetry. Fusia's water mill and irrigation ditch represent a complex medieval achievement of hydraulic engineering; they favoured the development of commercial and market activities in Paratico. The surrounding hills offer some enchanting vistas.
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Collection of Ottoman CalligraphyHacı Ömer Sabancı began collecting decorative art works consisting of figurines, metalwork, porcelain, objets d'art and furniture in 1940. Sakıp Sabancı expanded the art collection of his father since 1970. The collection includes 18th and 19th century Chinese porcelain Famille noire and Famille verte, polychrome vases and decorated plates. An impressive collection of 19th century French porcelain, including large numbers of Sèvres vases, and German porcelain produced in Berlin and Vienna are among the most valuable items in the collection.
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The four-storey tower has a corbelled saddle, corner buttresses, and triple arcades to the lower storey. The interior has polychrome brick patterns and bath stone dressings on red bricks. The stilted low-pitch chancel roof has stellar-pattern ribs and crenellated wall plates; the nave roof is steeper with wall posts to the main trusses. John Newman described the new church as "one of Butterfield's finest churches, big boned and austere outside, highly charged in the polychromatic patterning of its interior".
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Saint-Augustin was built between 1860 and 1868 in an eclectic style combining Tuscan Gothic and Romanesque elements. The structure is in length and in width, and was one of the first sizable buildings in Paris constructed around a metal frame. Saint-Augustin's facade features a frieze by François Jouffroy depicting Jesus and the twelve apostles above the four evangelists. Internally, the stained glass windows depict bishops and martyrs of the first centuries and the cast-iron columns are decorated with polychrome angels.
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First Presbyterian Church is a historic Presbyterian church at Church St. in Valatie, Columbia County, New York. It was built in 1878 and is a one-story, rectangular building built of face brick with limestone trim in the High Victorian Gothic style. It features three very steep gable roofs surfaced with polychrome slate, dormer windows, a porte cochere, and an engaged brick tower capped by an open belfry. See also: It was listed on the National Register of Historic Places in 1979.
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The northern side of the central presbytery under the Gothic arcades two tribunes with early Baroque railing were added. Into the outer side organ with rich polychrome decoration was put. At the top of the middle organ tower there is a sculpture of King David and on the sides there are statues of angels from Presov carvers. To the column between presbyteries of central and southern naves a baptistery was built in the Renaissance style in the second half of the 16th century.
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In the 1st chapel on the left is a St Tiburzio Martyr forced to burn before an idol by Clemente Ruta and a marble Ecce Homo by Giocondo Viglioli. In the 3rd chapel on the left is a Meeting of St Francis of Paola with King Louis XI of France at Ambois by Gaetano Callani. The altar in polychrome marble was designed by Pietro Righini, with statuary sculpted by Moggiani. The main altarpiece in the church now was painted Michele Plancher.
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New types of looms and weaving techniques also played a part. Plain-woven or tabby silks had circulated in the Roman world, and patterned damask silks in increasingly complex geometric designs appear from the mid-3rd century. Weft- faced compound twills were developed not later than 600, and polychrome (multicoloured) compound twills became the standard weave for Byzantine silks for the next several centuries.Wild, John Peter. "The later Roman and early Byzantine East, AD 300–1000." In Jenkins (2003), pp.
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During the parliamentary sessions in 1569 regarding the Union of Lublin, a holy mass was held at the Holy Trinity Chapel, asking for successful deliberations. Some of participants left inscriptions on the walls of the chapel commemorating the event. Extensive fresco work was conducted in the interior of the church in the 1410s by an anonymous team of Ruthenian painters under the supervision of Master Andrey. It was during this time that the walls and ceiling were covered in a Rutheno-Byzantine polychrome.
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This pottery was decorated in intricate designs, and Quezada reasoned that materials for making it were nearby. The pottery he found is part of the Casas Grandes style polychrome pottery, which flourished between 1175 and 1400 and is related to Pueblo style pottery. Over time and with much experimentation, Quezada learned to recreate the pottery completely on his own with no prior training or experience at all. Quezada gave his first pieces to family and friends, and then sold a few.
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Brad Rude's A Donkey, 3 Rocks, and a Bird. (1992), installed at Catlin Gabel School between the Lower School's science room and the Art Barn, is a cast bronze and stone sculpture depicting a life-size donkey and a bird facing one another. The donkey has a rock balanced on its back, while the bird is both standing on a rock and balancing one on its head. The donkey has surfaces decorations, including glyphs and figures, and is coated in polychrome bronze.
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Amadeo was born in Pavia. In 1470 he was commissioned by Bartolomeo Colleoni to complete his funerary chapel, the Cappella Colleoni in Bergamo, which had been begun by Guiniforte and Francesco Solari. Amadeo added polychrome decoration and many sculptures in the ancient style including medallions, small columns, busts, reliefs of "Histories from the Old Testament" and "Histories of Hercules". Amadeo also designed the funerary monument to Medea Colleoni, which was intended for the church of Santa Maria della Basella in Urgnano.
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The Ceramic Type "Ometepe Red Slipped-Incised" is found on Ometepe Island. It is a Late Polychrome Period ceramic type, and it is usually found in the form of jar sherds. This type of ceramic is identifiable because it is scraped on both the inside and out, and smoothing and polishing is done on the exterior body and rim. The slip, over the rim and outside, is a dull red to brown, while only the inside of the neck is slipped.
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The elaborate interior stands in stark contrast to the cathedral's military exterior. The central chœur, reserved for members of the clergy, is surrounded by a roodscreen with detailed filigree stone work and a group of polychrome statues. Below the organ, a fresco of the Last Judgement, attributed to unknown Flemish painters, originally covered nearly 200 m2 (the central area was later removed). The frescoes on the enormous vaulted ceiling comprise the largest and oldest ensemble of Italian Renaissance painting in France.
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The wooden pulpit supported by four atlantes (Cain, Holophernes, Herod and Judas) dates from 1867, when it was displayed at the Exposition Universelle in Paris. The polychrome organ loft is a masterpiece of Rococo work, one of the most impressive in the south of France. It stands on a vast platform of stone with a beautiful balustrade of wrought iron, and was built in 1754 by Jean-François L'Epine. The original instrument was rebuilt in 1882 by Théodore Puget of Toulouse.
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Plutarch: Camillus The largest visible monument is the sanctuary of Minerva from the 7th c. BC, situated along an important route just outside the city (at modern Portonaccio). The sanctuary was one of the oldest and most revered in Etruria, standing out for its sumptuous polychrome terracotta decorations, many of which can be seen today in the Villa Giulia. The sanctuary included the temple of Apollo of about 510 BC to which belonged the Apollo of Veii (now in the National Etruscan Museum).
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Cliff White-on-red is also a recurved bowl form of Roosevelt Red Ware. The interior of the vessel is smudged on the interior and the exteriors exhibit the white-on-red decoration. Cliff White-on-red overlaps in distribution with Dinwiddie Polychrome and thus the range appears to be southwestern New Mexico and southeastern Arizona. Similar white-on-red types exist in the Southwest, although all show sufficient differences for Cliff White-on-red to hold up as a distinct type.
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The entrance to the burial chambers is on the north face which descends to a vestibule where another shaft leads to the antechamber. To the right of the antechamber is the burial chamber; to the left is another small room, a serdab. In the burial chamber a sarcophagus decorated with polychrome reliefs stood against the wall; when found, it was in good condition although it had been plundered. The ceiling of the burial chamber had an astrological theme and was covered with stars.
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On the one hand he produced stylized athletes and animals cast in bronze. Alongside these he expressed his fascination with the sea and its myths and it's monsters creating a fascinating ceramic opus of tritons, nereids, underwater creatures, octopuses, and unusual depictions of the horses of Poseidon. The production pieces he created for Bing § Grondahl were executed in polychrome glazed stoneware or porcelain for the smaller figures. Expressive monkeys, water buffaloes, tigers and lions in ceramic form also populated his universe.
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Mrs. Yoop is a wicked giantess and sorceress in The Tin Woodman of Oz. When she meets the Tin Woodman and his companions, she changes them into animal forms. She transforms Polychrome into a canary, the Tin Woodman into a tin owl, the Scarecrow into a stuffed brown bear, and Woot the Wanderer into a green monkey. She is the estranged wife of the imprisoned Mr. Yoop from The Patchwork Girl of Oz, who has been imprisoned for eating people. Unlike him, Mrs.
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Pietà, St Peter's Basilica (1498–99) Lorenzo de' Medici's death on 8 April 1492 brought a reversal of Michelangelo's circumstances.J. de Tolnay, The Youth of Michelangelo, pp. 20–21 Michelangelo left the security of the Medici court and returned to his father's house. In the following months he carved a polychrome wooden Crucifix (1493), as a gift to the prior of the Florentine church of Santo Spirito, which had allowed him to do some anatomical studies of the corpses from the church's hospital.
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It dates to the Late Classic but overlies construction dating to the Middle Preclassic. A stairway ascended the front of the building, under which were found the remains of Late Classic polychrome ceramics, perhaps belonging to a pre-construction ritual offering. The stucco floors on top of the mound supported asymmetric walls that perhaps date to the Postclassic Period, being associated with a mix of Late Classic and Postclassic pottery. Structures 7, 8 and 9 were long, low rectangular platforms.
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The church labyrinths were polychrome pavements symbolizing the rise of Christ at Calvary. Christian people followed them on their knees as a symbolic pilgrimage or to win indulgences The labyrinth was inaugurated at the coronation of Philippe le Bel on 6 January 1286. It covered the central part of the nave at the third and fourth spans. The labyrinth was destroyed in 1779 by the Canons (priests charged with running the cathedral), who were disturbed by children playing on the labyrinth during ceremonies.
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Italy is believed to have been the source of the majority of early Imperial polychrome cast glass, whereas monochrome cast glasses are more predominant elsewhere in the Mediterranean.Price, J., A survey of the Hellenistic and early Roman vessel glass found on the Unexplored Mansion Site at Knossos in Crete, in Annales du 11e Congres. 1990: Amsterdam. Forms produced show clear inspiration from the Roman bronze and silver industries, and in the case of carinated bowls and dishes, from the ceramic industry.
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Upper floors, 2015 Parapet Timber ventilator The Flour Mill is a complex of attached buildings. The main (former milling) section consist of three floors plus a basement; because of the steep slope, the basement is above ground level at the rear. The mill section is built of load-bearing polychrome brickwork, ornamented with pilasters, arches and string courses. There are pairs of windows on the upper two levels at the front and five windows on each level on the sides.
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A terracotta warrior from Gansu, with traces of polychrome and gold, from the Tang dynasty (618–907) The historic Silk Road starts in Chang'an and goes to Constantinople. On the way merchants would go to Dunhuang in Gansu. In Dunhuang they would get fresh camels, food and guards for the journey around the dangerous Taklamakan Desert. Before departing Dunhuang they would pray to the Mogao Grottoes for a safe journey, if they came back alive they would thank the gods at the grottoes.
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Another common myth is that the Barriles population was conquered by Mayan groups from Mesoamerica (Mexico, Belize, Guatemala, parts of Honduras and El Salvador). Part of this theory is based on the presence of painted, polychrome ceramics from the end of the sequence. These exact ceramics are commonly associated with the later Chiriquí (or Boruca) Period and have been extensively described by neighboring Costa Rican archaeologists. There is no evidence for Maya contact or occupation that has been accepted by professional archaeologists.
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As a result, the collection was enriched by pieces of polychrome wooden sculpture of the 15th and 16th centuries, bronze sculptures of the 16th and 17th centuries, and works by French masters of the 18th century: Lemoyne, Caffieri, Houdon, and Clodion. After the State Museum of New Western Art was closed in 1948, the Pushkin Museum received more than 60 sculptures, including artworks by Rodin, Maillol, Bourdelle, Zadkine, Archipenko, etc. The collection of modern sculptures was formed through gifts from sculptors themselves.
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While these give clear reference in plan - and somewhat in decoration - to Byzantine art, the plan of the Umayyad Mosque has also a remarkable similarity with 6th- and 7th-century Christian basilicas, but it has been modified and expanded on the transversal axis and not on the normal longitudinal axis as in the Christian basilicas. The tile work, geometric patterns, multiple arches, domes, and polychrome brick and stone work that characterize Muslim and Moorish architecture were influenced heavily by Byzantine architecture.
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The sanctuary of Minerva at Portonaccio is an archaeological site on the western side of the plateau on which the ancient Etruscan city of Veii, north of Rome, Italy, was located. The site takes its name from the locality within the village of Isola Farnese, part of Municipio XX, city of Rome. It is important for the elaborate polychrome terracotta decoration that was found here with a quantity and quality unparalleled in Etruria, much of which can be seen in the Villa Giulia.
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Outside in the plaza is a pool with the statue of the Lizard of Jaén (Lagarto de Jaén), depicting a legendary monster of the area. The church a main nave and three aisles, separated by arches that are spanned by ribbed vaults. The portal has Isabelline Gothic decoration. The church includes a polychrome sculptural group depicting the Calvary attributed to Jacobo Florentino or Jerónimo Quijano; a Christ of the Mercy (1593) by Salvador de Cuéllar; and a Kneeling Magdalen (1572) by Mateo Medina.
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The facades are linked with a richly detailed truncated corner with polychrome glazed terracotta tiles integrated with the brickwork. This corner has two continuous brick piers crowned with an arched tiled panel rising above the parapet line, which bears the McWhirter's monogram "McW" in a Lily of the Valley motif. The windows are spaced with tiled panels in diamond patterns. The corner contains the principal entrance to the building, which is covered by a curved awning with decorative glass insets.
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The Arab invasion of Egypt and Syria harmed the Byzantium's trade, and affected the provisioning of the capital with grain. As the population increased in the 9th and 10th centuries, the demand for grain also increased. There was a functioning market for grain in Constantinople, but it was not entirely self-regulating: the state could play a role in the availability of grain, and the formation of prices.Laiou, Exchange and Trade, 720 The Shroud of Charlemagne, a polychrome Byzantine silk, 9th century.
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Yale University Press, New Haven & London; Foreign Language Press, Beijing. . p. 313. Green ware or celadons were popular, both in China and in export markets, which became increasingly important during the period. Yue ware was succeeded by Northern Celadon and then in the south Longquan celadon. White and black wares were also important, especially in Cizhou ware, and there were polychrome types, but the finer types of ceramics, for the court and the literati, remained monochrome, relying on glaze effects and shape.
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In contrast, scenes of everyday life and athletic motifs disappear from the repertoire nearly totally after 370 BC. The Apulian vase painters had considerable influence on the painters of the other South Italian traditions. Some of them appear to have moved to cities other than Taras, such as Canosa. Apart from red-figure pottery, black-glazed vases with painted decoration (Gnathian vases) and polychrome vases (Canosan vases) were also produced. The South Italian clays are less rich in iron than the Attic ones.
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Nothing about his life is known for certain before 1473 when he moved to Nuremberg in Franconia and married Barbara Hertz. Their eldest son Andreas was born there before 1477, when Stoss moved to Kraków, the royal capital of Poland, where he was commissioned to produce the enormous polychrome wooden Altar of Veit Stoss (Ołtarz Wita Stwosza) at St Mary's Church in Kraków. His son Stanisław was also a sculptor. Veit lived and worked in Kraków for the next twenty years.
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Bristol's architecture includes many examples of mediaeval, gothic, modern industrial and post-war architecture. Notable buildings include the gothic revival Wills Memorial Building, and the tallest building in the city, St Mary Redcliffe. The city is noted for its Victorian industrial architecture of the Bristol Byzantine style, characterised by deep red and polychrome brickwork and Byzantine style arches. Examples of most of the stages of the Architecture of the United Kingdom from the mediaeval era onwards are present in the city.
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The main building is an architectural masterpiece designed by the architect Calvert Vaux working closely with Church. The stone, brick, and polychrome-stenciled villa is a mixture of Victorian, Persian and Moorish styles. The interior remains much as it was during Church's lifetime, exotically furnished and decorated with objects from his global travels, and with some 40 paintings by Church and his friends. The house is intricately stenciled inside and out; Church designed the stencils based on his travels in the Middle East.
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It is currently distinguished as one of the Historical District apartment complexes in Washington. In 1931, while working on the Dupont Circle Building, Mesrobian was commissioned by an Armenian friend, Nejib Hekimian, to design his oriental carpet store. The store, located on 1214 18th Street, NW, was given a Middle-Eastern influence that incorporated arabesque and geometric motifs and polychrome tiles. With the end of World War II, Mesrobian designed numerous apartments in Northern Virginia to accommodate the population boom.
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The house can now be visited from Tuesdays to Sundays. It has no movable artefacts but contains a rich collection of tiles and painting, primarily from the Portuguese Baroque. On the ground floor the walls of the rooms are covered with polychrome blue and yellow painted tiles, originally from the Marvila Convent in Lisbon. On the first floor, the Chapel contains tiled narrative scenes from the Virgin Mary's life, produced in Talavera, Spain at the end of the 16th Century.
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They also made traditional Santo Domingo types of potty painting including black-on-cream and black-on-red. The Aguilar sisters' style of pottery ended around 1915, but is today making a comeback as the Aguilar polychrome style has been revived by one of Kewa pueblo’s leading potters, Robert Tenorio. Their pottery work, both as a family and as individual artists, can be found in various museum permanent collections including, the Brooklyn Museum, Nelson Atkins Museum of Art, Denver Art Museum, and others.
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Side of the building, 2015 Corpus Christi Church is a brick building situated on the crest of a hill, in Bage Street, Nundah, with expansive views to the north and east. The design of the church was influenced by the Romanesque Revival style, in its massing and detailing. Several large trees and established gardens surround the building. Corpus Christi Church is a symmetrically composed, polychrome brick building, with traditional Latin Cross plan and a polygonal chancel extending from the western end.
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The Corpus Christi Church is a manifestation of the Catholic ethos of exploiting imposing sites to produce prominent landmarks. This is particularly true of churches built during the time of Archbishop James Duhig. The place is important because of its aesthetic significance. The church is a particularly good example of an inter- war church, influenced by the fashionable Romanesque revival of church architecture in Australia, with its feature dome, picturesque massing and polychrome brickwork, a style favoured by Archbishop Duhig.
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There is considerable scope for incorporation of decorative patterns and elements into jack arches. Keystones, stepped or arched top profiles, and polychrome or contrasting colors and materials may all be used to create the desired effect. One of the earliest jack arches is in the Deyrü'z-Zafaran Monastery in eastern Turkey, near Mardin. The floor of the chapel (and the roof of the crypt) is formed from a jack arch and is said to have been constructed in the centuries BC.
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It is a 2-1/2 story brick structure, with a mansard roof and Stick style decoration in projecting gable sections. The walls are polychrome brick (mainly red and black), and windows are set in segmented-arch openings with sawtooth brickwork. The main facade is symmetrically arranged, with a central projecting pavilion topped by a gable with a trefoil and a pointed-arch window. The entrance is set in a segmented-arch opening in the pavilion, sheltered by a single-story porch.
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The play, which was never staged, is discussed at length in "The Faltering Flight of Prince Silverwings" by David L. Greene, Peter Hanff, and Michael Patrick Hearn in the Autumn, 1974 issue of The Baum Bugle (18:2). They argue that the work depicts the beginnings of such Oz characters as the Nome King, Trot, Polychrome, and John Dough as well as the premises for Ozma of Oz, Tik-Tok of Oz, and Rinkitink in Oz owe a debt to this collaboration.
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Ducal Chapel: ceiling decorated with the Four Evangelists fresco. The Ducal Chapel is a little room with elegant geometric lines, destinated to private praying. An old tradition argued that Renée de France - wife of Duke Ercole II of Este who had Calvinist sympathies - ordered this particular decoration, without sacred images. On the walls, coated all over with precious polychrome marbles, no sacred image - either painted or in mosaic - is actually represented, as one would at least expect in the small niches.
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Ruins of the Roman thermae in Pietroasele. The Pietroasele treasure, an Ostrogothic hoard uncovered in 1837 by local villagers, is on display at the National Museum of Romanian History, in Bucharest. The original gold hoard, discovered within a large ring barrow known as "Istrița hill" near Pietroasele, is a late fourth- century Gothic treasure that included some twenty-two objects of gold, among the most famous examples of the polychrome style of Migration Period art. The total weight of the find was approximately .
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The cupola consists of a short octagonal drum (only seen from the interior) as well as a short octagonal conical dome above decorated with "Harlequin Patterned" stonemasonry. The pattern alternates with reddish and a lighter grayish colored tufa. This example is considered to be one of the earliest examples of polychrome decorative masonry that was to become widespread in the following centuries in sacred buildings throughout Armenia. An oculus at the peak of the dome lets light into the room below.
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The cottage bears the date 1885 in a panel in the frieze over the keystone motif of the ground floor windows. It was erected in that year by Mugridge Bothers, builders, to the design of Bathurst architect James Hine. With its very compact plan, vertically-oriented form, romantic silhouette and modest polychrome brickwork, it has the character of a design derived from the 19th century pattern-book, but no such source has yet been identified. Gas lighting was installed in the house in 1914.
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One of the most historic buildings at the ground, whose pattern-book design and brick construction give it a unique distinctiveness on this site. The romantic silhouette is created by a vertically-oriented form, accompanied by modest polychrome brickwork. The floor plan is essentially a T-shape, two storeys with load bearing walls, timber joinery with sheet metal tiles simulating a Marseilles pattern. The main, south, wing is facetted as a semi- octagon, with a hipped and facetted roof, terminating with a prominent wrought iron finial.
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The madrasa has lost most of its decoration, but parts of it have survived, especially in the prayer hall. These remains indicate that the madrasa once had carved stucco decoration around much of this room and the main courtyard, along with painted wood ceilings and zellij tilework. The small minaret is decorated with blind horseshoe arches around its windows and a band of simple polychrome ceramic tiles around its top, while its eastern facade is covered with a darj-wa-ktaf or interlacing arch motif.
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A parish church dedicated to the two saints, Niccolò and Lucia, was present at the site for centuries when it was rebuilt in the late 16th and early 17th century. The ceilings and vaults of the church were frescoed by Sebastiano Folli with the Glory of Santa Lucia (1612) and Glory of St John the Evangelist (1621). The main altarpiece depicts the Martyrdom of St Lucy (1606) painted by Francesco Vanni. Flanking the altar are polychrome wooden statues from the Quattrocento depicting the titular saints.
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San Lazaro glazed polychrome jar c. 1490-1550 CE, found at Otowi Pueblo near Puye, Heard Museum The cliff dwellings were declared a National Historic Landmark in 1966, under the name of "Puye Ruins."Note: A National Register of Historic Places Inventory- Nomination document should be available upon request from the National Park Service for this site, but it appears not to be available on-line from the NPS Focus search site. In 2000, a planned burn of trees in Bandelier National Monument burned out of control.
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The palace was enlarged on the north side by a one-storey extension, housing a living room on the side facing the street and a winter garden adjoining the courtyard. The interiors were richly decorated, and stucco ceilings were covered with polychrome, which preserved to this day only in some areas. The main staircase with wooden stairs and a balustrade was decorated with fragmentarily preserved stained glass. The interiors were almost completely destroyed, but in some areas mouldings, furnaces and fireplaces are still to be seen.
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Various decorative forms of jewelry enriched clothing – needles, earrings (both highly richly designed or simple), and beautifully shaped headpieces in the form of tiaras. Necklaces, headbands, bracelets and rings are also common, as pafts (belt buckles). The well-known bride's ornament in the Metohija- Kosovo area was a kovanik (coin belt), made up of brass plates with polychrome stones and agates. Significant use was also made of rows of coins, as well as ornaments of multicolored beads with geometric patterns that were knitted by women.
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Sandberg also replaced the museum's heavy, rather uninviting doors with a glass entrance. In 1934, Baard turned the loggia above the museum's main entrance into an exhibition space and had several galleries repainted in light colors. When Röell took over in 1936, he installed light wall coverings inside some of the galleries and had new doorways put in on the upper-floor galleries. Then, in 1938, Röell had the polychrome staircase whitewashed and replaced the yellow glass in the skylight with lime-washed glass.
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When its inhabitants dispersed during the first years of the conquest, they settled in the poblado known in today as Antiguo Tamuín (Old Tamuín), six kilometers from El Consuelo. The first mention of the site is due to Walter Staub, who in 1919 published an article with photographs of various sculptures. By 1946, the investigator Wilfrido Du Solier conducted excavations in El Consuelo ranch and in several buildings and discovered the so called Polychrome Altar. Work was discontinued until 1981 when numerous architectural elements were stabilized.
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Spanish ambassador Ruy Gonzáles de Clavijo (practically the only extant source about the complex in the Byzantine periodJanin (1953), p. 229.), who visited Constantinople in 1402, writes that the plan of St. Mary was a central one, with a square nave surmounted by a dome with an atrium and side rooms, similar to the contemporary churches of Hosios Loukas and Daphni Monastery in Greece. The hemispherical dome – decorated with a mosaic – rested upon eight columns of polychrome Jasper which sustained four squinches.Ronchey (2010), p.
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The exterior is polychrome and was constructed from brick, terracotta and faience. The ground floor has a full- width tiled fascia continuing along to the neighbouring building; this 20th- century alteration may conceal earlier detail. The arcaded first floor has sash windows with sloping sills in the Gothic faience arcade, clasping rings and crocket capitals to the nookshafts, alternate block jambs, raised pointed arches and roll-moulded dripstring. The ogee window heads have fleur-de-lys finials in front of lozenge-patterned terracotta spandrels.
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The St. Martin is a single-nave church, built in the popular style of Polish 18th century wooden churches. It was renovated in the 19th and early 20th century, with polychrome added in 1958 by Edmund Budasza. Next to the church, stands an intricately carved wooden pole, previously within the grounds of the old church cemetery. It was erected in 1854 and made by local amateur artist Józef Kalasanty Jakubowski (1786-1877), professor of Gymnasium of St. Mary Magdalene in Poznań and founder of local library.
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Of quite a different character is the polychrome edition of the > Bible, now (1902) nearly completed, published by Paul Haupt (Leipsic and > Baltimore, 1893 et seq.) with the aid of the foremost Biblical scholars. > Under the title "The Sacred Books of the Old Testament," it endeavors to > give a critical edition of the Hebrew text on the basis of the versions and > the results of modern critical inquiry. The supposed sources are > distinguished by various colors. For editions since that time see Masoretic text#Some important editions.
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He also creates unique rhythmical and chromatic consonances throughout these motifs. Pontet's early series share outstanding traits characterized by accomplished drawing, well thought-out compositions, mathematically precise structures, distortions and deliberate elongations, as well as the use of a rich polychrome palette of tones and hues. Today, immersed in a new plastic period called “Metamorphosis,” Pontet is re-creating part of an enigmatic world of symbols. From realism to abstraction, Pontet's current work – teeming with feelings, thoughts, meditations, and not lacking in lyricism - is eminently plastic.
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The colourful, neoclassical interior design of this great hall, executed by Giacomo Quarenghi between 1787 and 1795, was lost in the fire of 1837 which gutted much of the palace's interior. Following the fire, Russian architect Vasily Stasov was commissioned to oversee the restoration and rebuilding of the palace. While he retained the architectural features dictated by the exterior of the palace, he completely redesigned the interior in a more simple classical style. He replaced the columns of polychrome marble with those of white cararra marble.
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Retrieved 14 July 2011 the 19th century illustrations of Icard and Showman, the 20th-century engravings of P. E. Plowman, Roland Oudot and Jean Hélion, and the work of his contemporary, Jean Dewasne. His emphasis in drawing was in composition and mastery of line, which informed his work in carved and polychrome sculpture, and in appliqué tapestries. In 1946 he produced tapestries for St Stephen's Cathedral, and sculpted Marie Noel, Cadet Roussel and Retif of Brittany. In 1948 had his first exhibition in Paris.
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The very wide range of types of European tin- glazed earthenware or "faience" all began using in-glaze or underglaze painting, with overglaze enamels only developing in the 18th century. In French faience, the in-glaze technique is known as grand feu ("big fire") and the one using enamels as petit feu ("little fire").Lane, 1 Most styles in this group, such as Delftware, mostly used blue and white pottery decoration, but Italian maiolica was fully polychrome, using the range of in- and underglaze colours available.
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Lucas currently serves on the Board of SIRVA since 2008, Pepperdine University since 2014, and also is on the Business Roundtable since 2012. Previous Board Chairman positions include serving as Chairman of Sun Chemical from 2001 to 2006, as co-Chairman of Kodak Polychrome from 2002 to 2006, and as Chairman of OpenWebs from 2000 to 2002. Other previous Board membership positions include serving as a Director of Quebecor World in 2006 and 2007, and as a Director of the U.S. Chamber of Commerce until 2012.
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Microscopic visualization of the encapsulated bacilli, usually in very large numbers, in a blood smear stained with polychrome methylene blue (McFadyean stain) is fully diagnostic, though culture of the organism is still the gold standard for diagnosis. Full isolation of the body is important to prevent possible contamination of others. Protective, impermeable clothing and equipment such as rubber gloves, rubber apron, and rubber boots with no perforations are used when handling the body. No skin, especially if it has any wounds or scratches, should be exposed.
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Arita porcelain dish with underglaze blue, with design of river, weirs, and maple leaves, c. 1650-1670s Arita Sarayama dish with overglaze polychrome enamel design of plum and fence, 1700-1730s is a broad term for Japanese porcelain made in the area around the town of Arita, in the former Hizen Province, northwestern Kyūshū island. It is also known as after the wider area of the province. This was the area where the great majority of early Japanese porcelain, especially Japanese export porcelain, was made.
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Three elite burials have been excavated from the pyramid, two males and a female, accompanied by extremely high quality funerary offerings. The offerings include polychrome ceramics and objects crafted from shell, conch and mother of pearl that are inscribed with anthropomorphic and zoomorphic imagery. These associated finds are of sufficient quality that it is possible that the deceased were members of the royal family. The burials have been dated to the reign of Yax Nuun Ayiin II, who ruled from AD 769 to 794.
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The stela was possibly moved to the temple by king Yax Nuun Ayiin II to celebrate the changing of the 20-year k'atun Maya calendrical cycle in AD 771 and thereby link himself to Chak Tok Ich'aak I. It was placed directly over the most important of the late 4th century elite tombs.Laporte and Fialko 1994, p.344. The stela continued to be worshipped in the Terminal Classic, as evidenced by the presence of polychrome ceramic offerings and incense burners.Laporte and Fialko 1994, p.344.
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Little is known about Sitio Conte and the individuals who are interred therein. A number of theories as to the function of the site have been offered, ranging from a "summer residence," to a shared burial ground. Those interred within the graves have been identified as either "chiefly families" or "chiefs and warriors slain in a single battle". Archaeologists have a good understanding as to when the site was in use, ascertained by dates associated with the goldwork and polychrome ceramics in the graves.
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Postcard ca 1907 The former Trinity Church is located in downtown New Britain, at the southeast corner of Main and Chestnut Streets. It is a large stone structure, built of granite and slate, on an Akron Plan design, with Richardsonian Romanesque style. It is particularly distinguished for its polychrome uses of both granite and slate to create distinctive effects. The facade facing Main Street presents a rounded apse on the left, and a square tower on the right, with corner turrets and a pyramidal roof.
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The scene is set on a wide terrace with a polychrome marble pavement, in perspective, separated from a lake shore by a parapet. On the left Mary is enthroned, under a baldachin whose support is in cornucopia shape, a symbol of her fertility. The baldachin has four steps, and on its side is a frieze with scenes of the myth of Marsyas, interpreted as a parallel with Jesus' Passion. Near to Mary are two unidentified female figures, which could represent two saints or two virtues.
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Large scale paintings were commissioned to adorn the castles and palaces of the military rulers. The Kanō school, patronized by the ruling class, was the most influential school of the period and, with 300 years of dominance, endured for the longest period in the history of Japanese painting. The trends of large polychrome paintings continued into the Edo period (1603–1868). The Rinpa school, best represented by Tawaraya Sōtatsu and Ogata Kōrin, used vibrant colors to depict classical themes from Japanese literature and Heian period poetry.
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Giotto's bell tower seen from the top of the Duomo. View from the tower. Giotto's Campanile (, also , ) is a free-standing campanile that is part of the complex of buildings that make up Florence Cathedral on the Piazza del Duomo in Florence, Italy. Standing adjacent to the Basilica of Santa Maria del Fiore and the Baptistry of St. John, the tower is one of the showpieces of Florentine Gothic architecture with its design by Giotto, its rich sculptural decorations and its polychrome marble encrustations.
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The extreme form of the Cambridge Camden Society ended in 1846 and by the mid- sixties even Scott was claiming he only altered when absolutely necessary. The second theme, originality, led to interesting debates as to what was copy- gothic and what was original. The Gothicists certainly produced better and better work to demonstrate originality, such as polychrome brickwork, and vibrant interiors; although to Petit and others this was still not good enough. Petit demonstrated what he meant on only two occasions, see below.
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Columbia Protecting Science and Industry by sculptor Caspar Buberl. The Arts and Industries Building was sited slightly farther back from the Mall than the Smithsonian Castle to avoid obscuring the view of the Castle from the Capitol. The building was designed to be symmetrical, composed of a Greek cross with a central rotunda. The exterior was constructed with geometric patterns of polychrome brick, and a sculpture entitled Columbia Protecting Science and Industry by sculptor Caspar Buberl was placed above the main entrance on the north side.
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Ceramic artifacts are a large and important group of samples found, generally mentioned in archaeological reports, serve to describe as well as chronological placement of sites, although seldom are investigation and study specific subjectsDixon: 1959; Sanders: 1961; Green & Lowe: 1967; Nelson: 1973; Howell: 1989; Hermes: 1991 The typical ceramics used at that time was made of three legged hollow “Boxes” (cajetes), and with a streamlined serpent shape, or metlapilcoate. “Cajetes” were painted brown over beige, and there were other decoration painted color brown, black and polychrome beige.
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In particular, the original wooden polychrome ceiling dating from the 17th century draws the attention of every visitor. Wyspa Młyńska (Mill Island) is among the most spectacular and atmospheric places in Bydgoszcz. What makes it unique is the location in the very heart of the city centre, just a few steps from the old Market Square. It was the 'industrial' centre of Bydgoszcz in the Middle Ages and for several hundred years thereafter, and it was here that the famous royal mint operated in the 17th century.
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Mosaic of Eastern Roman emperor Justinian I, 6th century Roman mosaics are constructed from geometrical blocks called tesserae, placed together to create the shapes of figures, motifs and patterns. Materials for tesserae were obtained from local sources of natural stone, with the additions of cut brick, tile and pottery creating coloured shades of, predominantly, blue, black, red, white and yellow. Polychrome patterns were most common, but monochrome examples are known. Marble and glass were occasionally used as tesserae, as were small pebbles, and precious metals like gold.
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Parish closes today form the foci for pardons, the annual Breton pilgrimage festivals, which can attract thousands of worshippers. The parish close of Guimiliau is situated at the upper end of the main village street, with the entrance dominating the village. The calvary or crucifix is the centre piece of the church yard, surrounded by a fine and complex retelling of the Passion in statuary. See Calvary at Guimiliau The church contains many fine examples of polychrome sculpture from the sixteenth century onwards, including several large retables.
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Polychrome tracing made by the archaeologist Henri Breuil from the cave painting of a wolf-like canid discovered in the Font-de-Gaume cave, Dordogne, France dated to 17,000 years ago. The Paleolithic dog was a Late Pleistocene canine. They were directly associated with human hunting camps in Europe over 30,000 years ago and it is proposed that these were domesticated. They are further proposed to be either a proto-dog and the ancestor of the domestic dog or an extinct, morphologically and genetically divergent wolf population.
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