37 Sentences With "squinch" | Random Sentence Generator

He completely reinvented those songs and did not try to squinch them into too narrow a story.

Instead, raise your lower eyelid up toward your pupil, an action Hurley calls "squinch" ("squint" plus "pinch").

Eli Squinch is an evil miser who first appeared as a villain with Black Pete in the Mickey Mouse comic strip. He first appeared in the strip in "Bobo the Elephant" (1934) as the abusive owner of an elephant which Mickey later forced Squinch to sell him. In his second appearance, "Race to Riches" (1935), he teams up with Black Pete for the first time against Mickey and Horace Horsecollar. Squinch has gone on to appear in additional Disney stories up to the present day, though generally only one story every couple of years—while a recognized character, Squinch seems never to have been one of the most popular villains.

Scholars such as Doğan Kuban describe Fatimid architecture as "inventive more in decoration than in broad architectural concept", although he acknowledges that the Fatimids contributed to a distinct style of mosque. The Fatimids introduced or developed the usage of the four-centred keel arch and the muqarnas squinch, a feature connecting the square to the dome. The muqarnas squinch was a complex innovation. In it a niche was placed between two niche segments, over which there was another niche.

The Palace of Ardashir Jane Dieulafoy visited the site with her husband, Marcel-Auguste Dieulafoy, and described it in La Perse, la Chaldée et la Susiane. Robert Byron was there in February 1934, and wrote about his visit in The Road to Oxiana. Byron considered the Palace to include the prototype of the squinch. In his view, buildings such as St. Peter's Basilica and the Taj Mahal would not have existed without the squinch and the pendentive.

The dome chamber in the Palace of Ardashir, the Sassanid king, in Firuzabad, Iran is the earliest surviving example of the use of the squinch, suggesting that the squinch may have been invented in Persia.Robert Byron, The Road to Oxiana After the rise of Islam, it was used in the Middle East in both eastern Romanesque and Islamic architecture. It remained a feature of Islamic architecture, especially in Iran, and was often covered by corbelled stalactite-like structures known as muqarnas.

The structure consists of 31 rooms, including chambers in the central hall. The rooms are dome-shaped; transition from a quadrangular frame to a dome is done using a squinch. Tash Rabat is completely made of crushed stone on clay mortar with gypsum mortar sealing joints.

Squinch in the Palace of Ardashir in Fars, Iran Squinches may be formed by masonry built out from the angle in corbelled courses, by filling the corner with a vise placed diagonally, or by building an arch or a number of corbelled arches diagonally across the corner.

Odzun Basilica, Armenia, early 8th century In architecture, a squinch is a construction filling in (or rounding off) the upper angles of a square room so as to form a base to receive an octagonal or spherical dome. Another solution to this structural problem was provided by the pendentive.

This structure is the principal feature unique to other major mosques in Egypt. Above the prayer hall sits a brick one-bay dome carried on four brick squinches. A large brick dome supported by brick squinches is also situated atop the mausoleum of Kujuk. However, the latter has a pendentive below each squinch.

The invention of pendentives superseded the squinch technique. Pendentives are triangular sections of a sphere, like concave spandrels between arches, and transition from the corners of a square bay to the circular base of a dome. The curvature of the pendentives is that of a sphere with a diameter equal to the diagonal of the square bay.

The entrance of the mosque is enclosed in a rectangular frame and decorated with a marble muqarnas on its top. Covered by a single dome, the mosque has a square plan with dimension of . The walls are built with ashlar. The dome sits on a dodecagonal squinch and has one window at each of the four sides.

The prayer hall has nine casement windows – two on each wall with an additional window on the southeast wall. Each casement is topped by an arched window with a different coloured glass composition, and a circular window is placed above the mihrab. The simple marble mihrab has a muqarnas hood. Muqarnas carvings were also used to highlight the springing of the squinch arches.

A window over each door and the mihrab is framed by squinch arches. The pavilion, primarily known as the Namakdan, is dodecagonal on its outside and octagonal inside. Four eyvans open the outside of the structure toward four more small octagonal chambers, which further open to the central pavilion. Recently, the vault was split into a first and second story.

Other adversaries have included Emil Eagle, Eli Squinch, Sylvester Shyster, the team of Dangerous Dan McBoo and Idjit the Midget, and the Phantom Blot. Two major artistic influences on the appearance of Mickey in comics are Floyd Gottfredson, who drew the Mickey Mouse comic strip from 1930 to 1975, and comic book artist Paul Murry, who drew Mickey stories from 1950 to 1984.

Bobo is a baby elephant who has appeared as a pet of Mickey Mouse in at least two stories. He was first featured in a self-titled storyline in the Mickey Mousenewspaper comic strip. In the story, Mickey mistakenly purchases Bobo at an auction. Eli Squinch, also making his first appearance in that story, convinces Mickey that he is Bobo's rightful owner.

Another is to use arches to span the corners, which can support more weight. A variety of these techniques use what are called "squinches". A squinch can be a single arch or a set of multiple projecting nested arches placed diagonally over an internal corner. Squinches can take a variety of other forms, as well, including trumpet arches and niche heads, or half-domes.

The figures on either side of the Jordan face each other across the empty space enclosed by the squinch, which becomes the space of the scene. In the uppermost zone, only the holiest figures of Christianity are represented (e.g. Christ, the Virgin, and angels) or scenes that are directly related to heaven. For example, the mosaics of the central dome almost invariably represent one of three scenes: the Ascension, Pentecost, or Christ Pantocrator.

After finishing his studies and whilst running his first practice, he became interested in furniture design. Many of these early designs were created especially for architectural projects that he was working on. They were made from carved wood, made with the assistance of the classically trained carpenter, Faruq al-Najjar and displayed Assyrian and Sumerian motifs together with muqarnas (a mixture of pendentive and squinch). i.e. the offices of the President of the University of Basra.

The muqarnas structure originated from the squinch. Sometimes called "honeycomb vaulting" or "stalactite vaulting", the purpose of muqarnas is to create a smooth, decorative zone of transition in an otherwise bare, structural space. This structure gives the ability to distinguish between the main parts of a building, and serve as a transition from the walls of a room into a domed ceiling. Muqarnas is significant in Islamic architecture because its elaborate form is a symbolic representation of universal creation by God.

These introduced characters such as the Phantom Blot, Eega Beeva, and the Bat Bandit, which Gottfredson created; Disney created Eli Squinch, Mickey's nephews, Morty and Ferdie Fieldmouse, and Sylvester Shyster, which were also introduced in the comic. Gottfredson plotted the continuities until Bill Walsh started writing the strip in 1943. The stories were always untitled. Titles were usually assigned later, when the strips or pages were reprinted in picture-books or comic books, which the artists had no influence on.

The Mustansiriya Madrasa is one of the only buildings still standing that provides evidence for Baghdad's role as a center for Islamic Art and for the city's role in the development of geometric ornaments. The layout of the Madrasa is a basic four-iwan plan fit into a two-story rectangular building with a large courtyard. Each school of Islamic law was designated to a separate corner of the building. Some of the main decorative features includes muqarnas; series of interconnected vaults used to highlight squinch zones of domes or exterior of minarets and domes.

The Villa Gordiani also contains remains of an oval gored dome. The Mausoleum of Diocletian uses small arched squinches of brick built up from a circular base in an overlapping scales pattern, called a "stepped squinches dome". The scales pattern was a popular Hellenistic motif adopted by the Parthians and Sasanians, and such domes are likely related to Persian "squinch vaults". In addition to the mausoleum, the Palace of Diocletian also contains a rotunda near the center of the complex that may have served as a throne room.

The multi-domed churches of Cyprus have been proposed as the inspiration for the basilica's domes and for the three-domed naves of later churches in the region, which date mostly from the period of Norman rule, but this is also a topic of debate. , the , , and the were built in the 11th to 13th centuries with pendentive domes. San Corrado also incorporates "squinch-like niches" between the pendentives and drums of two of its three domes. The domes at Valenzano were covered by low pyramids that were rebuilt in the 1960s.

This is an arch built across each corner of the square, thereby converting it into an octagon on which it is simple to place the dome. The dome chamber in the palace of Firouzabad is the earliest surviving example of the use of the squinch and so there is good reason for regarding Persia as its place of invention. The Palace of Ardashir, constructed in AD 224 during the Sassanid Dynasty. The building has three large domes, among the oldest examples of such large-scale domes in the World.

Gurandukht was a daughter of George II of Abkhazia (r. 916–960) and, thus, sister to the three succeeding monarchs—Leon III, Demetrius III, and Theodosius III. Gurandukht is depicted in relief on the northern squinch over eastern arch of the Kumurdo Cathedral in Javakheti, with an accompanying inscription in the medieval Georgian asomtavruli script ႢႰႣႲ, "G[u]R[an]D[ukh]T". The southern relief shows her brother Leon III, who is unnamed, but mentioned in a dedicatory inscription on the south door of the church, dated to 964.

Persian domes or Iranian domes have an ancient origin and a history extending to the modern era. The use of domes in ancient Mesopotamia was carried forward through a succession of empires in the Greater Iran region. An ancient tradition of royal audience tents representing the heavens was translated into monumental stone and brick domes due to the invention of the squinch, a reliable method of supporting the circular base of a heavy dome upon the walls of a square chamber. Domes were built as part of royal palaces, castles, caravansaries, and temples, among other structures.

Although heavily influenced by architecture from Mesopotamia and Byzantium, the Fatimids introduced or developed unique features such as the four-centred keel arch and the squinch, connecting square interior volumes to the dome. Their mosques followed the hypostyle plan, where a central courtyard was surrounded by arcades with their roofs usually supported by keel arches, initially resting on columns with leafy Corinthian order capitals. They typically had features such as portals that protrude from the wall, domes above mihrabs and qiblas, and façade ornamentation with iconographic inscriptions, and stucco decorations. The woodwork of the doors and interiors of the buildings was often finely carved.

Sheikh Lotfallah Mosque, Isfahan, Iran. Persian architecture likely inherited an architectural tradition of dome- building dating back to the earliest Mesopotamian domes. Due to the scarcity of wood in many areas of the Iranian plateau and Greater Iran, domes were an important part of vernacular architecture throughout Persian history. The Persian invention of the squinch, a series of concentric arches forming a half-cone over the corner of a room, enabled the transition from the walls of a square chamber to an octagonal base for a dome in a way reliable enough for large constructions and domes moved to the forefront of Persian architecture as a result.

This magnificent structure fascinated architects in the centuries that followed and has been considered one of the most important examples of Persian architecture. Many of the palaces contain an inner audience hall consisting, as at Firuzabad, of a chamber surmounted by a dome. The Persians solved the problem of constructing a circular dome on a square building by employing squinches, or arches built across each corner of the square, thereby converting it into an octagon on which it is simple to place the dome. The dome chamber in the palace of Firuzabad is the earliest surviving example of the use of the squinch, suggesting that this architectural technique was probably invented in Persia.

The tower from the west St Margaret's Church has a chancel, wide nave with a narrow clerestory above and narrow three-bay aisles on the north and south sides, a tall tower (topped with a spire) at the west end and a porch on the north side. The nave, chancel and chancel-arch all date from the 13th century. The aisles and their arcades are largely unaltered from their 14th-century origins: between them they feature various mouldings and designs typical of that period, including chamfered arches, octagonal columns and squinch corners. Many of the windows also date from that century, while others are a century later; trefoil-headed designs predominate, but there are some larger square-headed Perpendicular Gothic windows as well.

The domed enclosure of the Jameh Mosque of Isfahan, built in 1086-7 by Nizam al-Mulk, was the largest masonry dome in the Islamic world at that time, had eight ribs, and introduced a new form of corner squinch with two quarter domes supporting a short barrel vault. In 1088 Tāj-al-Molk, a rival of Nizam al-Mulk, built another dome at the opposite end of the same mosque with interlacing ribs forming five-pointed stars and pentagons. This is considered the landmark Seljuk dome, and may have inspired subsequent patterning and the domes of the Il-Khanate period. The use of tile and of plain or painted plaster to decorate dome interiors, rather than brick, increased under the Seljuks.

1333–54) are extraordinarily developed examples of muqarnas domes, taking the tradition of the squinch in Islamic architecture from a functional element in the zone of transition to a highly ornamental covering for the dome itself. The structural elements of these two domes are actually brick vaulting, but these are completely covered by the intricate mocárabe stalactites. The lacy and star-shaped crossing dome of Burgos Cathedral (1567) may have been inspired by these examples, in addition to that built over the cathedral's octagonal Chapel of the Condestable (1482-94) in the Gothic style. In the mudéjar style of Seville after the Christian reconquest of the city, a kind of dome made of intricately interlaced pieces of painted and gilded wood was known as a media naranja, or "half orange".

Gothic domes are uncommon due to the use of rib vaults over naves, and with church crossings usually focused instead by a tall steeple, but there are examples of small octagonal crossing domes in cathedrals as the style developed from the Romanesque. The octagonal dome of Florence Cathedral was a result of the expansion plans for that church from the 14th century, a part of efforts in Tuscany to build domes with exposed external profiles. The muqarnas dome type may have originated in Abbasid Iraq as single brick shells of large squinch-like cells, but it was popular in North Africa and Spain with more intricate cell patterns in stucco on a wooden inner shell. Two outstanding examples from the Moorish palace of the Alhambra in Granada, Spain, are the 14th century Hall of the Abencerrajes and Hall of the two Sisters.

Wren also designed a porch for the north side of the church. This was never built, but there once was a north door, which was bricked up in 1685, as it let in the offensive smells from the slaughterhouses in the neighbouring Stocks Market. The walls, tower,Britton and Pugin 1825, p37 and internal columns are made of stone, but the dome is of timber and plaster with an external covering of copper The high dome is based on Wren's original design for St Paul's, and is centred over a square of twelve columns of the Corinthian order. The circular base of the dome is not carried, in the conventional way, by pendentives formed above the arches of the square, but on a circle formed by eight arches that spring from eight of the twelve columns, cutting across each corner in the manner of the Byzantine squinch.

Instead of the spherical spandril of Hagia Sophia, large niches were formed in the angles, as in the Mosque of Damascus, which was built by Byzantine workmen for the Al-Walid I in CE 705; these gave an octagonal base on which the hemispherical dome rested; or again, as in the Sassanian palaces of Sarvestan and Firouzabad of the 4th and 5th century, when a series of concentric arch rings, projecting one in front of the other, were built, giving also an octagonal base; each of these pendentives is known as a squinch. Church of the Saints Sergius and Bacchus. There is one other remarkable vault, also built by Justinian, in the Church of the Saints Sergius and Bacchus in Constantinople. The central area of this church was octagonal on plan, and the dome is divided into sixteen compartments; of these eight consist of broad flat bands rising from the centre of each of the walls, and the alternate eight are concave cells over the angles of the octagon, which externally and internally give to the roof the appearance of an umbrella.