But, amid waves of contact, large languages lose their sharp edges, becoming bevelled as pieces of glass.
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The deeply bevelled steel case is a large and hefty 44mm, leaving plenty of room for activity and sleep tracking meters.
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So perhaps you've already been entranced by the bevelled edges of the Samsung Galaxy S231 and marvelled at its inclusion of a headphone jack — among other things.
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Kookaburras "dazzled the darkness with their horrible noise"; Verla is "mesmerised by pairs of seed pods nestled at the base of a grass tree: hot orange, bevelled, testicular".
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The club eschewed the sterile gloss of the complex's hotel and casino in favor of a suggestion of Old World glamour: burnished wood panels, brass fixtures, bevelled mirrors.
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Many know that your "good" side is the one without your parting, and that it is slimming to pose with a hand on hip and legs "bevelled" (one straight, the other bent).
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She lathered up the front and went at it with a straight razor so that his hairline sat as crisp and sharp as the bevelled edge of the blade that cut it.
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After the second set of microelectrodes was implanted, the excised portion of Scheuermann's skull was returned—though it was bevelled at the seams to allow the wires to pass through to the pedestals.
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The floor is marble and the timber door has bevelled glazing.
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Bevelled edges are a common aesthetic nicety added to window panes and mirrors.
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The bevelled white ceramic tiles cover the walls, the vault and the tympans and the lighting is provided by independent strips.
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31, Feb., 2000 Presentation of Misha Frid’s graphicsGraphics of Misha Frid, The Bevelled Edge, Magazine of Fine Art & Framing, p.20, bevellededge.
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Most cutting tools have a bevelled edge which is apparent when one examines the grind. Bevel angles can be duplicated using a sliding T bevel.
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Occasional growth striae cross the shell obliquely. The aperture is pyriform. The columella is excavate. The outer lip is grooved within and bevelled to a sharp edge.
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The oblique aperture is subcircular. The outer lip is bevelled to an edge. The bevel is iridescent and pearly. The interior is very regularly lirate, the folds numbering about 14.
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The outlets of the corridors are treated with classic bevelled white tiles. The advertising frames are metallic and the name of the station is written in Parisine font on enameled plates.
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The superior border is thin, and bevelled at the expense of the internal table, so as to overlap the squamous border of the parietal bone, forming with it the squamosal suture. Posteriorly, the superior border forms an angle, the parietal notch, with the mastoid portion of the bone. The antero-inferior border is thick, serrated, and bevelled at the expense of the inner table above and of the outer below, for articulation with the great wing of the sphenoid.
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A sculpture of Turfanosuchus dabanensis, on display at the Paleozoological Museum of China.The vertebrae of Turfanosuchus were similar to those of Euparkeria and pseudosuchians, with concavities on their sides and neural spines with expanded tops. There were two sacral (hip) vertebrae, which connected to the ilium (upper plate of the hip) with large, fan-shaped sacral ribs. No intercentra were preserved, and the vertebrae lacked bevelled edges, but since the vertebrae were disarticulated and some euparkeriids retain intercentra while lacking bevelled edges, their absence in Turfanosuchus cannot be proven.
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The bevelled white ceramic tiles cover the piers, the vault and the tympans. Lighting is provided by independent fluorescent tubes and the name of the station is written in Parisine font on enameled plates incorporated into the bodywork.
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Various ruins were seen at the site in the mid-19th century. These included the walls of houses, cisterns, broken columns and heaps of building stones, some of which had "bevelled edges" which supposedly indicated ancient Jewish origin.
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St. Mary's is a nave and chancel church, with a bell-cote in the west. The doorway has two bevelled granite jambs. The east wall has an arched window, with the south and north having opposing flat arch windows.
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Bevelled mirrors, painted opalines, stained glass, carved woodworks, marble mosaics and gold-leaf lettering provide the public with the pleasure of a rich place, as much by its beauty as by its conviviality. It was subsequently classified as an Historic Building.
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The MN-123 is a Polish scatterable anti-tank mine. The mine is a flat cylinder, with a bevelled edge. It is normally deployed from a ground vehicle, using a dispensing system holding 80 mines. The mine can also be manually laid.
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The sutures are slightly impressed, but scalariform specimens with deep sutures are frequent. The body whorl is rounded at the periphery and on the base. The aperture is rounded-quadrate. The outer lip is bevelled to an edge, very thick and smooth within.
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Another similar species is Harpoceras serpentinum, which has been contemporaneous with C. exaratum. It differs from this species by being more evolute, having bevelled umbilical walls, similar, but still different ribs and also by having series of undulations near falcoid bend of the ribs.
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It has several shapes, viz. lid, bowls, shallow plate, pot with elongated body, basins and convex-sided pots. Rimless bowls are with either straight or slightly convex sides and pointed edge. A single fragment of the small bowl is thick-sided with bevelled-in edge.
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The aperture is very oblique and rhomboidal. The outer lip is sharp, bevelled within and carrying a strong deep-seated tubercle. The parietal callus is coarsely wrinkled. The columella spirally ascends the umbilicus, terminating anteriorly in a massive bifid tooth, and higher up supporting a small tubercle.
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There are 20 on the last whorl and 10 on the antepenultimate whorl. Faint growth-striae cross riblets and grooves obliquely. The aperture is round, bevelled at the edge, and thickened within but not externally. Charles Hedley, The Mollusca of Mast Head Reef, Capricorn Group, Queensland.
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"Dopping" is normally done by adhering the stone with hard wax onto a length of wooden dowel called a "dop stick". The piece is then ground to the template line, the back edges may be bevelled, and finally the top is sanded and polished to a uniform dome.
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Typical landscape of the Vosges, a truncated upland in France A truncated upland, truncated highland or bevelled upland () is the heavily eroded remains of a fold mountain range, often from an early period in earth history.Murawski, H., Meyer, W. (2004): Geologisches Wörterbuch. Spektrum Akademischer Verlag, 11th edn., 262 pp.
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Standards and handbooks are mainly concerned with ' plates. In these, the leading edge is sharp and free of burrs and the cylindrical section of the orifice is short, either because the entire plate is thin or because the downstream edge of the plate is bevelled. Exceptions include the ' or ' orifice, which has a fully rounded leading edge and no cylindrical section, and the ' or ' plate which has a bevelled leading edge and a very short cylindrical section. The orifices are normally concentric with the pipe (the ' orifice is a specific exception) and circular (except in the specific case of the ' or ' orifice, in which the plate obstructs just a segment of the pipe).
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Additional traits differentiate Buriolestes from both later and contemporary sauropodomorphs: the front expansion (preacetabular ala) of the ilium is relatively tall, the outer edges of the pubis are bevelled, the trochanter of the femur forms a shelf, and the metatarsal of the fifth digit on the foot is relatively long.
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On the roof, each wing is capped with a pavilion having bevelled-corners and crowned with an ornamental iron cresting and tall flag-poles. Externally the walls are tuck-pointed with rusticated quoins at the angles. William McNaughton Galloway's initials and the date appear on the front facade of the hotel.
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The roof is new wood shingles which faithfully replicate the roofing in historic photographs. Except for fishscale shingles above the window level, bevelled siding is used throughout. Fenestration is generally two-over-two double-hung wood sash. Small triangular windows in the gable and gablet light the attic and echo the roof line.
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There is a marginal row of distinctive larger scales forming a bevelled edge. Sometimes the disc and ray areas are swollen with sunken inter-radial areas between. This may happen when the starfish has recently fed or when its gonads are enlarged prior to spawning. The general colour is yellow, orange or pink.
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The body whorl shows a coronal series of knobs, on large specimens becoming obsolete toward the aperture. The entire surface is traversed by spiral lirulae, much narrower than the densely obliquely striate interstices. The oblique, ovate aperture is about half the length of shell. The outer lip is bevelled to an edge.
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The oblique aperture is roundly elliptical. The outer lip is simple and bevelled inside. A short thin glaze can be found on the base of the whorl. The arcuate columella is everted posteriorly, with a tiny notch where it joins the round basal lip at the end of the bordering lira of the umbilicus.
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This ceiling is pierced in the center with a well allowing direct daylight to enter the station. The bevelled white ceramic tiles cover the wall and the tympan. The advertising frames are metallic and the name of the station is written in the Parisine font on enameled plates. The seats are a red Motte style.
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It has two green light luminous and Akiko seats of the same color. Bevelled white ceramic tiles cover the piers, the vault, the tympanums and the outlets of the corridors. The advertising frames are a faience honey color and the name of the station is also faience in the style of the original CMP.
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The rear wheels were 18 inches larger than the ones on the front. At the start of the 20th century the design incorporated raised skylights. On either side of the bed space, quarter-inch thick bevelled mirrors were common, and were lavishly decorated. Cupboards and locker seats were built in to prevent movement whilst travelling.
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The railway station became a through station after construction of the rival Northern Railway (Imperial Royal Austrian State Railways) in 1849. As soon as the traffic at the railway station, which was occupied by two competing companies, started to grow, some space limitation caused by bevelled shape between two segments of a polygonal principle Brno Ringstrasse.
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Single lancets to middle stage. Set-back corners buttresses to ground level stage with coursed rubble sandstone to north elevation and stone shield over entrance with inscription, 'A.D 1849'. Ashlar sandstone to nave front elevation with sandstone string course in line with tower, north elevation having coursed rubble stone, all over bevelled plinth course of larger blocks.
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The steel framed windows are typically small and operate by pivot. Where window is multi-paned, the central windows pivots, and the top and bottom sashes are fixed. The entrance foyer appears to be in original condition, with marble floors, threshold and wall lining, and original timber doors. Inner entry doors are timber with bevelled glass panels.
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The south wall of the main nave is broken into the side nave with two semicircular arcades on massive square bevelled block-style pillars. The organ-loft (choir) is vaulted with one field of cross-comb vaults. The railing is fully walled, strengthened with pentagonal pillars. Under the organ-loft there was discovered the lower choir.
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Rendered brick chimneystacks flanking centre bay, further central stacks to ridges of return, all with decorative octagonal pots. Lead-roll ridges to bay windows. Artificial stale roof to return with aluminium rainwater goods. Ruled-and-lined rendered walls with string courses to main block forming frieze below cornice and at eaves level of bay windows, bevelled rendered plinth course.
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The apex is exserted. The whorls of the spire are sloping, nearly straight, gradated, angled at junction of posterior and middle fourth. Behind this the whorl is bevelled to the suture, which is distinct and impressed. The whorls are sculptured with spiral lirae, four to six in front of the angle, two behind it, flatly rounded, equidistant, wider than the interspaces.
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It is more involute than Cleviceras exaratum and Eleganticeras elegantulum, but as it is evolved directly from C. exaratum, there exists some transitional specimens. Also, C. exaratum has vertical, or undercut umbilical walls, while C. elegans has them bevelled, or sloping. C. elegans also has weaker and more striate ribs at sizes below 30mm diameter. Then, ribbing is the same.
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Decorative stucco panel from Abbasid Samarra, in Style C, or the "bevelled style", 9th century Houses were often built in blocks. Most houses seem to have been two story. The lower level was often sunken into the ground for coolness, and had vaulted ceilings. The upper level had a timber ceiling and a flat terraced roof that provided living space in summer nights.
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The lighting of the Martin Nadaud station is carried out by tubes that are usually found in certain corridors of renovated stations. The bevelled white ceramic tiles cover the walls and part of the tympans. The advertising frames are in white ceramic and the name of the station is written in Parisine font on enameled plates. The Akiko style seats are green.
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The platforms on Line 7a are also equipped with two white Gaudin rounded lighting strips and white bevelled ceramic tiles on the pillars, vault, the spandrels and the outlets of the corridors. The advertising frames are white ceramic and the name of the station is registered in Parisine font on enamelled plates. The seats are of the Akiko orange style.
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Avron is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is in the style used for the majority of the metro stations. The bevelled white ceramic tiles cover the walls, the vault, the tunnel exits and the outlets of the corridors, while the lighting is provided by two white lighting tubes.
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Wagram is a standard configuration station. It has two platforms separated by the metro tracks and the arch is elliptical. Since the 1950s, the walls have been clad in metal bodywork with blue horizontal uprights and golden, illuminated advertising frames, complemented by blue Motte style seats. The bevelled white ceramic tiles cover the side walls, the tympans and the outlets of the corridors.
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Edgar Quinet is a standard configuration station. It has two platforms separated by metro tracks and the roof is elliptical. The decor is the style used for the majority of Métro stations. The lighting strips are white and rounded in the Gaudin style of the Metro revival of the 2000s; the bevelled white ceramic tiles cover the walls, tympans and corridors outlets.
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A variation on the Warlock design, called the "Warbeast" has also been produced. The Warbeast features a more heavily bevelled body, longer body horns as well as an additional horn in the upper middle section. The Warbeast was also produced exclusively with the "3-in-line" headstock design, and with Floyd Rose bridges included as standard, except on the cheapest models.
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The long, straight-edged axial stone is not the lowest, and the highest is next to the lower of the two portal stones. A boulder is situated in the center of the circle. About 250m north, near the River Laney, is another stone circle: of five stones in a D-shape, with an axial stone with a naturally bevelled upper surface.
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Both gable parapets have moulded block-work coping. The northern elevation of the porch features a doorway now accessed by a ramp with a bell mounted to the right-hand side of the doorway that is framed in bevelled concrete. The roofs of the nave and porch are gabled, pitched at a 45? angle and have ridges running east-west.
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The blade edges are also bevelled to more easily cut curves and circles or shapes. They are a lighter duty snip that can only cut up to 25 gauge mild steel. Other common blade patterns include the circle pattern or curved pattern and the hawk's-bill pattern. Circle pattern snips have a curved blade and are used to cut circles.
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The spire is gradated, the whorls straight-sided in the anterior three-fourths, and bevelled at an angle of 45° to the posterior suture, which is distinct and simple. The sculpture consists of five longitudinal ribs, continuous, narrow, erect and prominent. The interspaces are nearly flat, giving a pentagonal section. The spiral sculpture consists of Sublenticular inconspicuous longitudinal and spiral striae, which cross the ribs.
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102-105 includes coins overstruck on SNG Cop 94-98, indicating that it followed that issue. Like SNG Cop 94-98, it comes with two distinct types of flan: a bulging round flan (SNG Cop 103-105) and a flat, cast flan with bevelled edges (SNG Cop 102). Metal analysis shows that the same alloy is used for both issues and for both flan types.
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In the churchyard is the base of a medieval cross dating from around 1298 or later. It is in red sandstone and consists of a two-step base on top of which is a bevelled block. This holds a short Tuscan column on the top of which are the fixings for a sundial. It is listed at Grade II, and is a scheduled monument.
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It comprises an arched pediment with the inscription "OUR BOYS" above a laurel wreath set within the tympanum, and a gabled ridge, which is capped with an edge roll and terminates with tracery infills above the columns. The aedicule is topped with an urn that has bevelled corners. The modern concrete slab, flagpole, metal posts and chains surrounding the memorial are not heritage-listed.
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Concave Olmec mirrors were fashioned from a single pied of iron ore. The front, with the mirror face, was concave with a highly polished lens. The bevelled edge of the mirror was convex and the rear and sides of the mirror were roughly sawn or ground down, although there are occasional exceptions. One Olmec mirror had a back that was ground smooth and highly polished.
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Wooden barrels made of multiple staves. A wood stave pipeline for a hydropower application. Wood stave pipeline part of the Yakima Project A stave is a narrow length of wood with a slightly bevelled edge to form the sides of barrels, tanks, tubs, vats and pipelines, originally handmade by coopers. They have been used in the construction of large holding tanks and penstocks at hydro power developments.
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Blanche is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is of the style used for most metro stations. The lighting canopies are white and rounded in the Gaudin style of the renouveau du métro des années 2000, and the bevelled white ceramic tiles cover the walls, the vault and the tympans.
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Victor Hugo is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is of the style used for most metro stations. The lighting canopies are white and rounded in the Gaudin style of the renouveau du métro des années 2000 revival and, the bevelled white ceramic tiles cover the walls, the vault and the tympans.
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Monceau is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is of the style used for most metro stations. The lighting canopies are white and rounded in the Gaudin style of the renouveau du métro des années 2000 revival, and the bevelled white ceramic tiles cover the walls, the vault and the tympans.
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The open-air part of the platform towards Château de Vincennes has floor-to-ceiling windows offering a view of the Saint-Martin canal opening onto the port of Arsenal. Bevelled white ceramic tiles cover only the outlets of the corridors. The name of the station is written in Parisine typeface on enamelled plates. The platforms, equipped with glass edge doors, are devoid of advertisements and seats.
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Pelleport is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is of the style used for the majority of metro stations. The lighting fixtures are white and rounded in the Gaudin style of the metro revival of the 2000s, and the bevelled white ceramic tiles cover the upright walls, the vault and the tunnel exits.
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The Cetiosaurus specimen OUMNH J13695 has a low horizontal ridge on each of its lateral surfaces, creating a slightly subhexagonal transverse cross-section, and that feature is also seen on Cetiosauriscus, the anterior caudals of Haplocanthosaurus, and caudals 15-30 of Omeisaurus. Also, the area around the periphery of each articullar face is flattened, creating a ‘bevelled’ appearance, and also occurs in Haplocanthosaurus and Cetiosauriscus.
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Curtilage includes area within a radius of the house. ;House: Toongla is a largely intact Victorian villa constructed of colonial bonded brickwork, now painted, its main roof has a hipped iron form with three large stuccoed chimneys. Possibly a smaller building originally, later extended to the east, as evidenced by the chimneys. The northern verandah has a bellcast roof bevelled posts and iron lace brackets.
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Its three elements mirror the shape of the fingers they bear: the first is the shortest en thickest; the second the longest; and the third is intermediate in length and thickness. The third finger is exceptionally long for a comspognathid, with 123% of thumb length. As the lower joint of the first metacarpal is bevelled, the thumb diverges medially. Its claw is no larger than that of the second finger.
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As stated above, the exterior materials used in the Horner House include naturally bleached heart redwood, bevelled joint cladding, always used vertically, and plate glass. The two-story core of the main house contains manufactured casement windows, transite spandrels and heads with redwood corners and facias. The doors are solid lumber core, stained and varnished. The screened porch is constructed of four built-up columns, suspended from the cantilevered ceiling joists.
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Ternes is a standard curve station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is in the style used for most metro stations. The lighting canopies are white and rounded in the Gaudin style of the renouveau du métro des années 2000 revival, and the bevelled white ceramic tiles cover the walls, the tympans and the outlets of the corridors.
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Courcelles is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is of the style used for most metro stations. The lighting canopies are white and rounded in the Gaudin style of the renouveau du métro des années 2000 renovation, and the bevelled white ceramic tiles cover the walls, the vault, the tympans and the outlets of the corridors.
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Before the outbreak of Second World War, in 1939, René Wiesner left for Great Britain. He worked in London initially, in 1946 moving to Bridgend, Wales where he established Novolor Ltd manufacturing photo-printed advertising on clear and silvered glass and souvenir mirrors, paper weights and display tablets, plain mirrors, flat, convex and concave, bevelled glass, photo- printing on plastics, glass silvering and rear-view mirrors for motorcars.
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Anvers is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is of the style used for most metro stations. The lighting canopies are white and rounded in the Gaudin style of the renouveau du métro des années 2000, and the bevelled white ceramic tiles cover the walls, the vault, the tympans and the outlets of the corridors.
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Platform Bourse is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is that of the style used for most metro stations. The lighting canopies are white and rounded in the Gaudin style du renouveau du métro des années 2000 renovation, and the bevelled white ceramic tiles cover the walls, the vault, the tympans and the outlets of the corridors.
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Rue Saint-Maur is a standard configuration station. It has two platforms separated by metro tracks and the vault is elliptical. The decoration is in the Andreu-Motte style with two orange-brown light strips, benches and some openings in the corridors treated with flat brown tiles with Motte seats in orange. The bevelled white ceramic tiles cover the walls, the vault, the tympans and the rest of the corridors.
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The decoration is of the style used for most metro stations. The lighting strips are white and rounded in the Gaudin style of the renouveau du métro of the 2000s, and the bevelled white ceramic tiles cover the walls, the vault and the tympans. The advertising frames are faience in a honey colour and the name of the station is also of faience. It is equipped with benches.
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208 these monuments, referred to in Turkish as kümbet, are a continuation of the Turkish burial customs of Central Asia. These structures are either polygonal or cylindrical in shape arid are covered with a dome. The main body of the monument rests on a cubic base, the corners of which are bevelled. In the examples built before the 16th century, the dome is covered with a conical or pyramidal spire.
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S is a long bevelled but not fluted driftwood board of Podocarpus latifolius wood (Orliac 2007), 63 × 12 × 1.6 cm, that curves to a point at one end. It was cut into a plank for a canoe (Fischer believes line Sb1 was planed for this purpose), and twelve holes were bored along the perimeter for lashings.Perhaps to repair a canoe. James Cook noticed des fines sculptures in otherwise poorly built canoes.
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This has a varnished, panelled timber ceiling and highly glazed early ceramic tiles lining the walls to door height. A fine varnished timber screen and double- leaf door with bevelled glass panels and carved timber wreaths separates the vestibule from the central foyer. Both sets of entrance doors have metal handles in Art Nouveau designs. Early marble steps lead up to a central foyer with later stone and tile flooring.
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Before the next plank is fitted, the face of the land on the lower strake is bevelled to suit the angle at which the next strake will lie in relation with it. This varies all along the land. The new strake is held in position on the preceding one before the fastening is done. The keel, or keelplank, was only slightly thicker than the adjacent garboards and had no rabbet.
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Pereire is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is in the style used for most metro stations. The lighting fittings are white and rounded in the Gaudin style of the metro revival of the 2000s, and the bevelled white ceramic tiles cover the walls, the vault, the tympans and the outlets of the corridors.
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The retaining wall stepping down from the southern side of the bridge supports flights of stairs alternating with gentle ramps. The stonework is finished to the profile of the stairs and ramps and capped with concrete. The capping, in turn, supports a balustrade of solid concrete panels spanning between stonework piers. Like the piers on the bridge itself, these consist of Brisbane Tuff ashlaring with a bevelled capping piece.
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Ambush predators such as trapdoor spiders on land and mantis shrimps in the sea rely on concealment, constructing and hiding in burrows. These provide effective concealment at the price of a restricted field of vision. Trapdoor spiders excavate a burrow and seal the entrance with a web trapdoor hinged on one side with silk. The best- known is the thick, bevelled "cork" type, which neatly fits the burrow's opening.
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During the Gravettian, spearheads with a bevelled base were being produced. By the beginning of the LGM, the spear-thrower was invented in Europe, which can increase the force and accuracy of the projectile. A possible boomerang made of mammoth tusk was identified in Poland (though it may have been unable to return to the thrower), and dating to 23,000 years ago, it would be the oldest known boomerang.
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Saint-Marcel metro station is of a standard configuration. It has two platforms separated by metro tracks and the roof is elliptical. The decor is the style used for the majority of metro stations. The lighting strips are white and rounded in the Gaudin style of the metro revival of the 2000s, and the white ceramic tiles bevelled on the sides, the tympans and the outlets of the corridors.
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The station was partially modernized with the installation of small fine flat ceramic tiles, yellow-orange and white, in the connecting corridors of its northern part. The same year, a fresco by the French artist Hervé Mathieu-Bachelot, entitled En rouge et en blanc, was installed on a pedestal not far from the main accesses to line 4. In 1985, the corridor connecting the northern and southern parts of the station also receives two identical mosaics by the same artist: Obliques enrubannées (work produced with André Ropion). Like a third of the stations in the network between 1974 and 1984, all the stopping points are fitted out in the Andreu-Motte style, in yellow accompanied by flat white tiles for line 1, in red with flat white tiles on line 4, in green with the conservation of the original bevelled tiles for line 7 and in blue with the maintenance of white bevelled ceramic tiles on line 11.
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These increase in number and diminish in distinctness, till on the body whorl they are very numerous, crowded, and insignificant. This arises from intermediate riblets, which are almost invisible on the earlier whorls, reaching on the body whorl a prominence equal to that of the others. These are best seen in the sinus-area. Behind the lip is a strong and broad varix, scored with the riblets, and bevelled off to a thin prominent edge.
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The Calibre 560P is a self-winding mechanical movement, designed, developed and built at the heart of Manufacture Piaget, and boasting a complex retrograde seconds mechanism. The hand traces an arc from 0 to 30 at 12 o’clock, then jumps back to its starting point. The design of the handcrafted finishing details took 24 months: circular Côtes de Genève decoration, stippled main plate, bevelled and hand-drawn bridges as well as blued screws.
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The corridor outlets are treated with classic bevelled white tiles. The advertising frames are metallic and the name of the station is written in Parisine font on enameled plates. The station is distinguished by its platforms widths which are less than the standard configuration due to the narrowness of the street under which it was established, as well as by the lower part of its walls which, consequently, are vertical and not elliptical.
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Osteotomes used in dental implantation Bernhard Heine's osteotome Component parts of the osteotome, and the instrument in use An osteotome is an instrument used for cutting or preparing bone. Osteotomes are similar to a chisel but bevelled on both sides. They are used today in plastic surgery, orthopedic surgery and dental implantation. The chain osteotome, originally referred to simply as the osteotome, was invented by the German physician Bernhard Heine in 1830.
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A large part of the snout is occupied by long bony nares. Below them a small triangular skull opening, the fenestra antorbitalis is present. Reflecting the more shallow snout, the teeth of Campylognathoides are also short and not at all laniaries or fang-like as in the markedly heterodont Dorygnathus. They are conical and recurved but have a broad base with the point bevelled off from the inside forming a sharp and strong cutting surface.
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The inner edge is bevelled, of a dull callus, radiately plicate, the margins united by a thick layer of callus, within brilliantly nacreous. An expansion of the columella slightly intrudes upon the umbilicus, which is narrow but deep, margined by a crenulate rib, internally with two deep-seated funicles. Charles Hedley, The Mollusca of Mast Head Reef, Capricorn Group, Queensland. Part II; Proceedings of the Linnean Society of New South Wales v.
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Roque is played on a hard sand or clay 30 by 60 foot (approximately 9 by 19 m) court bordered by a boundary wall, a curb bevelled at the ends to form an octagon. Players use this wall to balls similarly to how billiard balls are played off the cushions of a billiard table. The wickets, called arches, are permanently anchored in the court. The arches are narrow as in professional six-wicket croquet.
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Other than this change the integrity of the building remains high. Below the awning are the original timber and bevelled glass front doors which are intact as are the show cases at each side. The external walls of the building are brick and incorporate some of the 1911 theatre that was destroyed by fire. These include the side walls, part of the front wall, and a substantial part of the rear wall of the auditorium.
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The base is expressed as a plinth, square in plan and approximately high. The stack, approximately high, flares out at the top to take a plain, splayed, concrete crown. The plinth is distinguished by a plain oversized cornice and the northwest, northeast and southeast faces are relieved by an indented rectangular mid- panel defined by a bevelled cement perimeter band. The plinth corners are tapered to take a decorative concrete moulded roll.
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The ribs are carved in a decorative shape, with slightly bevelled edges, and joined in the flat circular keystones at the apex of the vault. Ribs in the chancel continue to the heads, which are closing simple or bundle round shafts. The vault above the three aisles is supported by four massive polygonal pillars and ribs ends in pyramidal brackets on the walls. The chancel is opened to the nave by a massive triumphal arc.
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In Iran and Turkey, where the Turks set up states and ruled for centuries, there are a number of examples of mausoleums. These monuments, referred to in Turkish as "kümbet"(gonbad), are a continuation of the Turkish burial customs of Central Asia. These structures are either polygonal or cylindrical in shape arid are covered with a dome. The main body of the monument rests on a cubic base, the corners of which are bevelled.
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There are slender pointed windows with new tracery between the rests, simple window in the end of choir, the north window is immured and the south window is two part with new flame tracery. The original bevelled mouldings are preserved only in the end of church, otherwise they are covered with plaster. There were penetrated new portals in the western half of the nave. The portals have pointed arch with pinnacles on the sides.
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Ansaldi was an Italian automobile manufacturer founded in Milan in 1904 by Michele Ansaldi an engineer, designer, and industrialist. The only car they produced was sold as the F.I.A.T. Brevetti after the company was taken over in 1905. In 1904 the Ansaldi automobile company in Milan manufactured a small car with a Fiat 10/12 HP engine. It featured the world's first 'pre-formed' chassis, plus a drive shaft and differential unit with bevelled gears and universal joints.
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Paints and calcimines, were manufactured at Rundle Street, mirrors were silvered and bevelled, stained glass painted and fired by J. F. Williams and his staff, leadlight windows built up, and plate glass cut and curved. Besides glass of every description, the showroom had a range of gas and electric lighting and heating fittings on display. The company became H. L. Vosz Ltd in 1901. In 1904 the firm was incorporated with a nominal capital of £50,000.
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The ulna of the lower arm is long, with a minimum length equalling 76% of the humerus, upper arm bone, length. The surface on the radius contacting the ulna is limited in size and relatively smooth. The joint surface at the underside of the radius is bevelled relative to the shaft, at an angle of about 15°. The outer edge of the top surface of the shinbone forms a pinched process, behind the cnemial crest at the front.
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The station of line 12 is established in a curve and its vault is semi-elliptical, a form specific to the old Nord- Sud stations. The decoration is in a Andreu-Motte style with two orange light canopies, benches in flat brown tiles and orange Motte seats. These arrangements are married with the flat white tiling which covers the walls and the tympans, while the vault is painted in white. The hallways are treated in classic bevelled white tiles.
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Each stopping point has an elliptical vault and an Andreu-Motte style decoration, but the characteristic benches and seats have been gradually removed over the years. The terminus of Line 5 is in the form of a curved station with two lanes framing a central platform. The Motte style is only represented by two yellow luminous strips, while the platform has a few white sit-stand bars. Bevelled white ceramic tiles cover the walls, vault and tympans.
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These glass objects were made in huge quantities in large factories and were available by mail order throughout Europe and America. Many of them were not fine art but provided inexpensive decorative objects to brighten up ordinary homes. Reverse glass painting was also a Czech specialty. The image is carefully painted by hand on the back of a pane of glass, using a variety of techniques and materials, after which the painting is mounted in a bevelled wooden frame.
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Other finds include Baltic amber, mammoth ivory and animal teeth and bone. These were used to make harpoons, awls, beads and needles. Unusual bevelled ivory rods, known as sagaies have been found at Gough's Cave in Somerset and Kent's Cavern in Devon. Twenty eight sites producing Cheddar points are known in England and Wales though none have so far been found in Scotland or Ireland, regions which it is thought were not colonised by humans until later.
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The building has timber sash windows, French doors opening onto the second level verandahs, tripartite windows facing the street to the first floor level, and flat arches to window heads on second floor level. It sits on a rendered masonry base which has intricate brick and iron ventilators. The verandahs are supported on timber columns with bevelled corners and square capitals, and have cast-iron valances and balustrading. Louvred timber spandrels run beneath the first floor verandah.
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A herbarium assembled by Guarinonius was gifted by the Wilten Foundation to the Tyrolean State Museum in 1876. It is one of the earliest collections of this nature in central Europe. Compiled between 1610 and 1630, it comprises a book format herbarium with wooden covers and bevelled edges. It starts with a 13-page Latin/German index, which is followed by 106 pages incorporating 633 pressed and dried plant parts, originally collected in the Innsbruck area.
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The edge of a billhook is not bevelled to a very narrow angle to avoid binding in green wood. The hooked front of the blade is designed to prevent the edge from hitting the ground, which would quickly damage or blunt it. Billhooks were the tool of choice for clearing areas of brush and shrubs, since this activity requires chopping close to the ground. In German speaking countries, the billhook is known as a "Rodeaxt", which translates to "clearing axe".
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The handle of the axe also acts as a lever allowing the user to increase the force at the cutting edge—not using the full length of the handle is known as choking the axe. For fine chopping using a side axe this sometimes is a positive effect, but for felling with a double bitted axe it reduces efficiency. Generally, cutting axes have a shallow wedge angle, whereas splitting axes have a deeper angle. Most axes are double bevelled, i.e.
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The vault is elliptical in both cases. The station is also one of only two in the network, with Porte de Vincennes on line 1, to have preserved its original decoration in flat cream-colored tiles, which is one of the experimental decorations tested in 1900 before selecting the famous bevelled white tile for other parts of the network. This tiling covers the walls, the vault and the tympans. Lighting is provided by a tube strip in each half station.
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The ceiling consists of a metal roof, whose beams, burgundy in color, are supported by vertical pillars. The decoration is in the Andreu-Motte style with two burgundy light canopies, benches, tympans and walls fitted with large white flat tiles in a stretched sandstone and purple Motte seats. On the other hand, the outlets of the corridors are fitted with standard white bevelled tiles. Advertisements are devoid of frames and the name of the station is written in Parisine font on enameled plates.
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These arrangements are combined with white bevelled tiling for the two lines, while the staircase surrounds and the surface of the bench seats on the platform towards Pont de Sèvres are treated with white flat tiling. The advertising frames are metallic. Finally, the station on line 11 is also of standard configuration. It is decorated in the Andreu-Motte style with two red lighting frames, benches and outlets of the corridors are of flat tiles of the same color and red Motte seats.
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Europe is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. If its decoration is classic with bevelled white tiles covering the walls, the vault and the tympans, it has the particularity of being equipped with liquid crystal screens since the celebrations of the centenary of the metro, broadcasting short films or slideshows. Lighting is provided by two tube strips and the platforms are equipped with benches made of wooden slats.
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Campo-Formio metro station has a standard configuration. It has two platforms separated by metro tracks and the roof is elliptical. The decor is the style used for the majority of metro stations, the lighting strips are white and rounded in the Gaudin style of the metro revival of the 2000s, and the bevelled white ceramic tiles cover the walls, the roof and the tympan. The advertising frames are metallic and the name of the station is in Parisine font on enamelled plate.
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The apse, chancel and nave are built of brick in the Late Romanesque style on a double sloping plinth with pilaster strips at the corners and saw-toothed cornices at the top. The apse is divided into three sections with narrow pilaster strips. The bevelled window to the east has been opened up and the two others reconstructed in 1911 when the church was restored. On the south wall, a small, sharply pointed and slightly projecting priest's door can be seen.
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Mouton-Duvernet style On lines 4 and 6 at the Raspail station, the Mouton-Duvernet style was replaced in 2008. Tiling made its return in the late 1960s, with the renovation style known as Mouton-Duvernet (this station on line 4 being the first concerned). The style's signature was the warm and dynamic colour orange, in variegated shades. Flat (non-bevelled) orange tiles covered the station walls but not the roof, which was simply painted in a neutral (and often dark) tone.
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The nearby Stac an Armin reaches , making these the highest sea stacks in Britain.Heights from Haswell-Smith (2004); National Trust website states 191 metres & 165 metres respectively. Seen from the south, the rock appears as an imposing cliff as broad as high, while from the west it has the aspect of a thin needle with a top bevelled at an angle of 45°. The most impressive view is that obtained from the south-east, from where Stac Lee looks like a giant hook.
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The dry single-plate clutch has a diameter of 412 mm and features torsional rubber damping. Early Kontio models were fitted with a five-speed main gearbox while the heavy-duty Jyry's came with a six speed gearbox on which the sixth gear was an overdrive. There is no synchromesh, but the gear-cog tooth ends were bevelled in order to ease shifting. An additional power output shaft, used to power additional functions such as a dumping mechanism, was available as an option.
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Items were made to order in small batches, mostly with laminated panels slotting into a solid wood framework. A large fret saw was used to cut solid wood items like chair legs then the frame rebates were cut on a circular saw. The panels were added and the edges bevelled with a circular saw. At the time it was unusual to use laminated plywood as it was considered low quality, but Paul Matt believed that using a framework made them more secure.
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The Art Ross Trophy is awarded to the National Hockey League (NHL) player who leads the league in points at the end of the regular season. It was presented to the league by former player, General Manager, and head coach Art Ross. The trophy has been awarded 70 times to 29 players since its introduction in the 1947–48 NHL season. Ross is also known for his design of the official NHL puck, with slightly bevelled edges for better control.
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There are many types of woodworking chisels used for specific purposes, such as: ; Firmer chisel : has a blade with a thick rectangular cross section, making them stronger for use on tougher and heavier work. ; Bevel edge chisel : can get into acute angles with its bevelled edges. ; Mortise chisel : thick, rigid blade with straight cutting edge and deep, slightly tapered sides to make mortises and similar joints. ; Paring chisel : has a long blade ideal for cleaning grooves and accessing tight spaces.
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Carving methods include bevelled cuts, such as those found on body contours, and shallow incisions, such as noted in eyelids and lips. There have been various interpretations of the stone carvings. One interpretation is that of battle scenes, carved to commemorate a great battle, with foreign victorious warriors and defeated Casma people. An alternate theory is that the site was a laboratory for anatomical studies, which explains the explicit exposure of different parts of the human body, such as organs and bones.
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Such items are generally avoided, although chainsaws provide a preferable spin to axes if needs must. Juggling knives are constructed with a blade of steel or sheet aluminium several millimeters thick and a wooden or composite handle such as found on juggling clubs. The blades are often scimitar shaped with a bevelled 'cutting' edge, and the other edges are rolled to prevent injury. The other common blade shape is an elongated diamond with all edges and the point rolled or otherwise made safe.
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Accordingly, the central section of the house is 16th century and the most northerly Hall is 17th century. One of the very old internal ceiling beams shows a bevelled surface along one side and a flat surface on the other. The flat surface (to the north) was where an internal wall was once, and this equates to the position of the outside quoins. This represents where the building stopped for a hundred years or so, before being extended northwards towards the road.
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The upper large chamber to contain sufficient > gas to lift the machine. In the centre of upper chamber, a cylinder is > fixed, in which a horizontal fan is driven by means of a shaft and bevelled > gearing worked from the lower chamber.European Patent Office GB189420431 According to local lore, Frost flew this machine for the only time on 24 September 1896, for approximately 500 metres, before coming down and crashing into bushes. A storm that night destroyed the craft and scattered the remains.
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The advertising frames are metallic and gray, and the platform is equipped with a few white Motte style seats. Like that of line 1, the station of line 9 is curved and has a classic layout under an elliptical vault. Its decoration is of the style used for most metro stations. The lighting canopies are white and rounded in the Gaudin style of the revival of the renouveau du métro des années 2000, and the bevelled white ceramic tiles cover the walls, the vault and the tympans.
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Single butt welds are similar to a bevel joint, but instead of only one side having the bevelled edge, both sides of the weld joint are beveled. In thick metals, and when welding can be performed from both sides of the work piece, a double-V joint is used. When welding thicker metals, a double-V joint requires less filler material because there are two narrower V-joints compared to a wider single-V joint. Also the double-V joint helps compensate for warping forces.
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Vertical taillamps replaced the previous horizontal items. The ring-style rear deck decoration was replaced with a Valiant script located at the right-hand corner. There were few styling changes in the 1965 Valiants, but the 1966 Valiants had a split grille with fine-patterned insert; new front fenders; new rear fenders on the sedans; new bevelled-edge rear deck lid; heavier rear bumper; and a new roofline with large backlight. The new Chrysler-built A833 four-speed manual transmission was offered together with a Hurst shifter.
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The tank could be electrically started, but only if the motor was already warm, so the first start had to be done by hand from the inside of the vehicle. Maximum speed was about and the range about . There was a cylindrical bevelled turret on top of the hull that carried a "Quick Firing" (shell and cartridge in one complete round) three-pounder gun (47 mm calibre) and four ball mountings for Hotchkiss machine guns. A novel, unique feature was a three-man turret.
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The moulded, stepped base is 'I'-shaped in plan and has bevelled corners. The square columns are stop-chamfered and flank the marble panel, which is visible from two sides. The front of the panel reads "COLINTON HONOUR ROLL" and lists the names of 43 men from the district who served in WWI, in two columns (25 on the left and 18 on the right) roughly in the order they enlisted. The decorative aedicule has a moulded cornice and is mirrored on the north and south faces.
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The platforms of the two lines, 75 meters long, are of a standard configuration. Two in number per stopping point, they are separated by the metro tracks located in the center and the vault is elliptical. The station on line 2 is furnished in Andreu-Motte style with a blue light canopies, tympans and openings of corridors are in flat blue tiles and blue Motte style seats. These fittings are combined with the bevelled white ceramic tiles that cover the vault and the walls.
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Ménilmontant is a metro station with a slight curve with a standard configuration. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is of the style used for the majority of metro stations with bevelled white ceramic tiles covering the walls, the vault, the tympans and the end of the corridors, while the lighting is provided by two tube strips. The advertising frames are metallic and the name of the station is written in Parisine font on enameled plates.
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In 1909, the station became the first metro station to have an escalator. Like a third of the stations in the network, between 1974 and 1984 the platforms on both lines were modernized by adopting the Andreu-Motte style, in orange for line 2 and in yellow on line 3 with the layout being completed with flat white tiles replacing the original bevelled tiles in both cases. As part of the RATP's Renouveau du métro program, the station's corridors were renovated by 4 March 2005.
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Alexandre Dumas is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is the style used for most metro stations, the lighting canopies are white and rounded in the Gaudin style of the metro revival of the 2000s, and the bevelled white ceramic tiles cover the walls, the vault, the tympans and the outlets of the corridors. The advertising frames are metallic and the name of the station is written in Parisine font on enameled plates.
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It presents a peculiarity as to its plan, which is different from the others of the orders: the four corners of the nave are bevelled, which gives it the octagonal shape. The carvings of the chancel are well executed and almost all covered with gold. The helix columns with stylized acanthus leaves conform to the style of the main church of the Carmelite Order. The ceiling lining is in ogival vault, counting episodes of the life and death of the great reformer of Carmo.
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More generally, the bevelled design of glass was ubiquitous in Soviet society, and was the standard form found in schools, hospitals, cafeterias, and other locations. They were used as convenient forms for standardised measures in cooking, with cookbooks often using numbers of glasses rather than grams or other measurements. The standard glass size of 250 ml, when filled to the very top, was equivalent to cup under the imperial measurement system. When filled up to the level of the smooth rim it contained 200 ml.
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The group can be defined as the most inclusive clade that includes Saltasaurus loricatus but excludes Brachiosaurus altithorax. Features found as diagnostic of this clade by Mannion et al. (2013) include the possession of at least 15 cervical vertebrae; a bevelled radius bone end; sacral vertebrae with camellate internal texture; convex posterior articular surfaces of middle to posterior caudal vertebrae; biconvex distal caudal vertebrae; humerus anterolateral corner "squared"; among multiple others. The following cladogram demonstrates the results of the phylogenetic analysis performed by Fernández-Baldor et al.
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The hero Arjuna, for instance, is made to wield a one-handed sword with a bevelled point, a small handguard, and a large round pommel. Two-handed swords naturally had longer handles and were broad at the hilt. Curved swords are also known to have been in common use since at least the Buddhist era, including large kukri-like falchions. The most common type of curved sword is the katti, which still occurs under various names everywhere from the deep south to the far northeast.
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William Henry Playfair, University of Edinburgh: bevelled edges of each stone block emphasise the voussoirs, which have a curved base and together form a semi-circle at the top of each arch. A voussoir is a wedge-shaped element, typically a stone, which is used in building an arch or vault. Although each unit in an arch or vault is a voussoir, two units are of distinct functional importance: the keystone and the springer. The keystone is the centre stone or masonry unit at the apex of an arch.
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Typical of Lutyens' War Crosses, it has a long, tapering shaft with short arms moulded near the top, though it has uncommonly deep bevelled edges and sits on a deep two-tiered stone base, which itself sits on a small stone circle in the grass. The main inscription is on the north face: "PASS FRIEND ALL IS WELL / 1914 HARTBURN 1919"; the inscription "1939 HARTBURN 1945" was added to the south face after the Second World War.Skelton, p. 169. Hartburn War Memorial was designated a grade II listed building on 30 January 1986.
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The platforms of line 1, 90 meters long and slightly curved to the west, are of standard configuration. Two in number, they are separated by the metro tracks and the vault is elliptical. The decoration is of the style used for most metro stations, combined with the specific fittings for this line since its automation. The lighting canopies are white and rounded in the Gaudin style of the renouveau du métro des années 2000 renovation, and the bevelled white ceramic tiles cover the walls, the vault, the tympan and the outlets of the corridors.
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200px Side views of a bevel (above) and a chamfer (below) A bevelled edge (UK) or beveled edge (US) is an edge of a structure that is not perpendicular to the faces of the piece. The words bevel and chamfer overlap in usage; in general usage they are often interchanged, while in technical usage they may sometimes be differentiated as shown in the image at right. A bevel is typically used to soften the edge of a piece for the sake of safety, wear resistance, or aesthetics; or to facilitate mating with another piece.
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2500 – 2000 BC) copper dagger blade was recovered from the Sillees River near Ross Lough, County Fermanagh, Northern Ireland that had a remarkably modern appearance.Sheridan, Alison, A Beaker Period Copper Dagger Blade from the Silees River near Ross Lough, Co. Fermanagh, Ulster Journal of Archaeology, Vol. 56 (1993), pp. 61-62 The flat, triangular-shaped copper blade was 171 mm (6.75 inches) long, 42.5 mm (1.65 inches) wide, and 2mm (0.078 inches) in maximum thickness, with bevelled edges and a pointed tip, and featured an integral tang that accepted a riveted handle.
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Pearceite is often granular and massive; crystals are short, tabular pseudohexagonal prisms with bevelled edges, showing triangular striations on faces parallel to the plane containing the a and b axes, and rosettes of such crystals, to 3 cm across. The mineral is black, and in polished section it is white with very dark red internal reflections. It has a black to reddish black streak and a metallic luster, generally opaque, but translucent in very thin fragments. It is biaxial with a very high refractive index of 2.7 and maximum birefringence δ also 2.7.
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The station on line 3 bis, the former departure station for the terminus loop, consists of two tracks on either side of a central platform under an elliptical vault, with a dead-end buffer stop on the south side,. Established in a curve, it is completely covered with bevelled white tiles and devoid of advertising frames on its sides; the enameled name plates in Parisine font are only present on the island platform. The latter is fitted with red Motte style seats and lit by a tube strip.
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Philippe Auguste is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is in the style used for most metro stations, the lighting canopies are white and rounded in the Gaudin style of the metro revival of the 2000s, and the bevelled white ceramic tiles cover the walls and tympans. The layout was completely refurbished in 2018; thus, white ceramic advertising frames have replaced the metal surrounds, while the green Motte style seats have been replaced with blue Akiko seats.
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Malesherbes is a standard configuration station. It has two platforms separated by the metro tracks and the vault is elliptical. The decoration is in the style used for most metro stations, the lighting strips are white and rounded in the Gaudin style of the metro revival in the 2000s, and the bevelled white ceramic tiles cover the pillars, the tympans as well as the outlets of the corridors, while the vault is painted white. The advertising frames are metallic and the name of the station is written in Parisine font on enameled plates.
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The platforms of Line 6 are decorated in the Mouton style with orange tiles and orange luminous lighting strips. Those of Line 12 are in the Ouï-dire style with green lighting strips and Motte seats, white flat tiles and white cylindrical advertising frames. The platforms of Line 13 are built in the Andreu-Motte style with green lightning strips and green tiled benches, tympanum's and openings. Green Motte seats are married with the original CMP decoration (white bevelled tiled walls, the name in faience and honey colour advertising frames).
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They are decorated in the style used for the majority of the metro stations. White ceramic bevelled tiles cover the walls, the tympans and the outlets of the corridors. The roofs are coated and painted white and the name of the station is in the Parisine font on enamelled plates. On the platforms of line 6, the lighting strip is white and rounded in the Gaudin style of the metro revival of the 2000s, the advertising frames are a white ceramic and the seats are in Akiko blue style.
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Laumière is a standard configuration station with two platforms separated by metro tracks under an elliptical roof. The decoration is Andreu-Motte style green, with two light bars, flat tile benches and Motte seating in the same colour. In contrast, the archways and outlets of the corridors as well as the walls and the vault, are covered with white bevelled ceramic tiles. The advertising frames are a faience honey color and the name of the station is also faience in the style of the original Compagnie du chemin de fer métropolitain de Paris (CMP).
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The suture is linear, not impressed, a little coarse, slightly marginated by the overlap of the succeeding on the preceding whorl and the slight tumidity caused by the infra-sutural puckerings. The round aperture is very oblique, with a soft pearly nacre all round. The outer lip is very slightly descending, thick, and bevelled outwards to a sharp edge. There is a broad thin hyaline pad spread over the body that connects the outer lip and the columella, which is broad, thick, shallowly excavated, with a slight external median horizontal tooth or ridge.
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The south portico was closed in later with brick walls built between the columns, and now serves as a smoking-room. The hall, now the dining-room known as the "cube room", extends the height of two stories; it has a marble fireplace with a bevelled mirror, over which are the Duke of Argyll's arms. The carved marble chimney is the work of Flemish sculptor, Jan Michiel Rysbrack. The walls are divided into panels by fluted Corinthian pilasters with a rich cornice, over which is a cove with circular lights and panels.
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In the 1990s Silk Cut was the best selling brand in the UK, but sales have declined behind cheaper budget brands as tax on tobacco has increased. In an attempt to counteract this, the manufacturers responded in the new millennium by introducing bevelled corners to redesigned regular gauge packaging, and marketing their first 'slim' cigarette in the UK, even though this wasn't the first 'slim' cigarette available in the UK as More, Karelia and Vogue are available in most tobacconists. Capri were available in the UK until the mid-1990s.
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Klaus Moje was born in 1936 in Germany to a family of glass workers who specialised in providing bevelled and decorated glass for things such as mirrors and shelving. Moje became a journeyman glass cutter and worked in his family's shop until he received a scholarship to study glass art in Rheinbach and then in Hadamar. After a brief time as a German folk singer, Moje opened a stained glass studio with Isgard Moje-Wohlgemuth. Moje made his first entry into the glass art world with carved and polished glass sculptures.
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The lighting canopies are white and rounded in the Gaudin during the du métro des années 2000 renovation, and the bevelled white ceramic tiles cover the vault, walls and the tympans. The advertising frames are of a white ceramic colour and the name of the station is in the Parisine font on enameled plate. The seats are in the Akiko style, jade colour. The walls of platforms of line 4 are flush with the ground, the ceiling consists of a metal deck, whose beams are silver in colour, supported by vertical white ceramic tiled walls.
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A splitting band knife can be produced in different sizes (length x width x thickness) according to the splitting machine on which it has to be fitted. Different technical characteristics define the quality of the product (blade) The blade can be welded and bevelled, toothed not rectified, rectified on both edge and surfaces, with pre-sharpening made by tools or grinding stones. A splitting band knife can be produced in several dimensions, usually with a length from mm 1000 to 15000, a width between mm 10 and 110, a thickness from mm 0,40 to 1,50.
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Its wing was of two spar construction, the spars built up from spruce with plywood webs. The wings were plywood covered ahead of the forward spar and fabric covered aft, with an almost rectangular plan of constant chord out nearly to the slightly bevelled wing tips. At 7.7, the aspect ratio was less than on the Vampyr (10.8) and the airfoil was also different. Whereas the Vampire used the airfoil (as did the Handasyde glider that came second at the Itford competition), the S.C.W. used the flat-bottomed T.62 section intended for propellers.
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Taking an approach of simplicity and honesty to his chosen materials (in the main, sustainable sources of English woods such as ash, oak, maple, cherry, sycamore, elm and walnut), Burt began his career designing within the idiom of Arts and Crafts furniture but adding contemporary notes such as elegantly bevelled edges and subtly cut-out sections to the top of tapered legs. His designs began to lose weight and added curves. He sought a playful contrast between restraint and elaboration, always aiming at technical perfection, in the manner of the designer-maker Alan Peters.
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Juggling with balls and knives (circa 18th century) Juggling is rarely performed with sharp knives, because there is little point in increasing the risk to performer for no aesthetic benefit. Specially balanced juggling knives are used, usually with a bevelled edge to appear sharp. Performing with genuine machetes is not generally advised because the spin and balance are unfavourable, and tricks beyond the basics become much more difficult. Various bladed implements can be juggled, but many have a dangerous and unpredictable spin as seen on an axe or chainsaw.
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This broken vessel had a bevelled rim and hollow neck. Decoration was provided by twisted cord impressions as well as a series of criss-cross lines incised into the clay, probably with a flint flake. The hollow of the neck of the vessel also included some small finger-tip impressions, while the interior of the rim included a series of pendant semicircles possibly made using bird-bone impressions. Also in the northern ditch were sherds of a large vessel which had been decorated with the impressions of a twisted cord.
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Unlike some titanosaurs, the ischium of Diamantinasaurus displays no constriction of its width, nor a flange projecting internally. Diamantinasaurus also lacks a notable muscle scar for the M. flexor tibialis internus 3 on the side of the distal ischium, which is diagnostic for the taxon amongst Neosauropoda. Femur displaying bevelled morphology (above) and tibia (below) of Diamantinasaurus The femur, long, is roughly twice as wide as it is long, as in other derived sauropods, although it has been slightly crushed. The crushing did not prevent the preservation of the linea intermuscularis cranialis ridge, also present in Saltasaurus, Neuquensaurus, Bonatitan, Rocasaurus and Alamosaurus.
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Internally the building is divided into suites of medical offices, accessed via a narrow central corridor on each level. The ground floor lobby features entrance doors with cut bevelled glazing, dark-stained silky oak panelling to picture-rail height, plaster ceiling panels with moulded cornices, and terrazzo borders in the passageway in front of the lift, which is located in the middle of the eastern side of the building. This panelled and metal-meshed lift installation, which was designed to accommodate stretcher patients, is circled by a staircase which services all levels. The stairwell walls are rendered and pointed to resemble stone work.
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The dome has a slightly larger diameter with a sharper angle where the bevelled section meets the curved upper part. The neck bin has a mirrored gold finish and is detailed with a fine circular-section gold mesh overlay, replacing the usual diamond section design. The props are painted predominantly light cream with gold hemisphere, slats, arm, "plunger", gun, eye discs and light covers. The hovering capability first seen in Revelation of the Daleks is confirmed in Remembrance of the Daleks when an Imperial Dalek is shown levitating up a staircase, emitting a red glow from the base of its casing.
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Previously it was called the Place du Trône, where guillotines were set up during the French Revolution. From the 1960s to 2010, the decorative style Mouton-Duvernet was applied to the platforms of lines 2, 6 and 9 with some specificities. The tiles of line 6 have particular patterns, while those of lines 2 and 9 are bevelled and in two shades of orange, colour randomly distributed on the walls and the tympans. The lighting strips are fitted with metal blades on line 2, while they are typical of the Mouton style on lines 6 and 9.
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The drop-shaped palpebrals project out from the tops of the eye sockets. In both species, the back two-thirds of the inner surface of the palpebral is slightly concave. Both species have a squamosal in which the back third is bevelled; in K. langenbergensis, the outer margin is somewhat convex. Photographs, interpretive drawings, and CT scans of the juvenile skull of K. langenbergensis Viewed from the top, the parietal increases in width at the back; the increase is small in K. langenbergensis, such that the bone is overall rectangular, but the difference is larger in K. guimarotae.
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Knoetschkesuchus langenbergensis compared with Theriosuchus pusillus When the known specimens of K. langenbergensis were first described in a preliminary fashion by a 2006 paper from Hans-Volker Karl et al., they were referred to the genus Theriosuchus. This was on the basis of the short skull, divided nostrils, large eye sockets compared to the supratemporal fenestrae, and the bevelled side of the squamosal. Specifically, they recognized its similarity to T. pusillus on the basis of its osteoderms and teeth, although they noted that the orientation of the back of the skull was different and that leaf-shaped teeth were absent.
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The platforms of the two lines are of standard configuration. Two in number per stopping point, they are separated by the metro tracks located in the center and the vault is elliptical. The station on line 3, however, has a ceiling height much higher than normal (see above) and vertical pillars as a result. The decoration is of the style used for most metro stations in both cases: the lighting strips are white and rounded in the Gaudin style for the metro revival in the 2000s, and the bevelled white ceramic tiles cover the pillars, tympans, vault and openings in the corridors.
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The platforms of line 4 are decorated in the Andreu-Motte style in red, with flat tiles from the 1970s until 2018. As part of the automation of the line, these platforms were still under construction in 2019, the Andreu-Motte style having been entirely cast out. The platforms of line 7 are decorated in the Andreu-Motte style in an apple green color, associated with the original decoration of the CMP, characterized by bevelled white tiles, advertising frames in honey-colored earthenware. The name of the station is supplemented by its old name, (Pont au Change), also written in earthenware.
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The latter are fixed on masonry benches covered with flat orange tiles of a smaller size than usual. This new tiling is therefore now consistent with the lighting strips and the seats they support; on the other hand, they are no longer in harmony with the tiles of the outlets of the corridors, neither by their size nor by their color, going against the original principles of the Andreu-Motte style. The bevelled white ceramic tiles cover the walls, the vault and the tunnel exits. The stair stringers and the walkway are treated in flat white tiles aligned horizontally.
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On 2 April 1971 line 3 was extended to Gallieni. As part of the RATP Renouveau du métro program, the station was renovated by reconnecting with the classic bevelled white tiles, first in corridors by 6 February 2004, then on the platforms of line 3 by 5 November 2008. The station is in the Avenue Gambetta, which is named after the statesman Léon Gambetta (1838–82), Prime Minister for 66 days in 1881 and 1882. In 2018, 7,137,504 passengers entered this station which placed it at the 41st position of the metro stations for its usage.
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The platforms for the two lines are of standard configuration, two at each stop point, separated by the metro tracks in the centre and the arch is elliptical. Line 5 is decorated in the style used for most metro stations: the lighting strips are white and rounded in the Gaudin style of the 2000s Metro revival, and white bevelled ceramic tiles cover walls, spandrels and outlets in the corridors. The vault is coated and painted white. The advertising frames are in a white ceramics and the name of the station is written in Parisine typeface on enamelled plates.
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Located adjacent to the church on the west is a three-story rectory. Built in 1905 at a cost of $6,000, it is a rectangular brick building that rests on an ashlar foundation; it is covered with a slate roof. Three bays wide on the front and four long on the sides, it features gables on the front and sides, a large verandah-style front porch, and two bay windows. Individuals enter the house through an ornate recessed front door, which is ornamented with details such as an elliptical fanlight with a keystone, a bevelled window, and recessed sidelights.
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The saloons were separated by swing doors with frosted glass or bevelled plain glass glazing, the latter having an etched LNWR script decorative monogram. The first class seating was in facing pairs arranged 2+1 on either side of the gangway, and the general ambience was Edwardian- luxurious, with mahogany panelling. Above the seats were glazed frames which displayed photographs of landscapes and towns served by the London and North Western Railway; these were retained to the end.Henry Law observed as eye witness Glazing consisted of large fixed lights with two small outward-opening lights above a transom; some were top-hinged and others side-hinged to provide alternative ventilation.
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The props had large, rectangular dome lights, a bottom neck ring which protruded beyond the shoulder line, and lacked both eye discs and slats. These Daleks also featured a dome that was a true hemisphere rather than the usual bevelled design and a single, oblong appendage box running across the front of the body. A Dalek Emperor prop was also created, being a scaled-down but otherwise faithful reproduction of the version that appeared in The Evil of the Daleks with the addition of large wing-like structures to the sides. The Dalek props used in the production were built by the theatrical suppliers Suffolk Scenery.
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The decoration is typical of the 1970s: the bevelled ceramic tiles, placed vertically and aligned, are beige in color on the pedestals (a color that can be found at Porte de Bagnolet on the same line and at Kléber on line 6 ) and white on the pillars, the upper part of the latter being coated and painted white. The advertising frames are metallic and the name of the station, inscribed on enameled plates, is in Helvetica font instead of the usual Parisine typography, a peculiarity that the station only shares with Place d'Italie on line 6 and Porte de Versailles on line 12. The Motte style seats are yellow.
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Pont de Levallois-Bécon has two platforms, one central and one side, serving three tracks: the central platform is served by the two tracks used for the departure of the trains while the side platform is served by the trains on arrival. The decoration is in the style used for most metro stations: the lighting strips are white and rounded in the Gaudin style of the renouveau du métro of the 2000s, and the bevelled white ceramic tiles cover the walls, the vault and the tympan. The advertising frames are a honey color faience and the name of the station is also faience. The seats are a Motte style white colour.
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The tiling and the North-South ceramics are however well preserved (advertising frames and frame of the station name is of a green color, with green geometrical designs on the walls and the roof). This station, the station at Porte de Versailles (on the same line) and Porte de Clichy (on line 13) are only three stations on the network to mix these two decorative styles. The platforms of Line 6 are decorated in the Bruno-Gaudin style (2000 metro revival) with bevelled white tiling, rounded white lighting strips, white ceramic advertising frames, beige Akiko seats and the station name on enamelled plate in Parisine font.
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A publishing company has turned his work into a classic book for those not mathematically inclined, while opting for a title with more pizazz, "Friendship, As Easy as Pi." Charlie takes joy in the belief that this book will allow his thoughts to reach a much wider audience than before. By the episode "In Security," the published book appears with the title "The Attraction Equation" and a dapper photo on the back cover of him holding a sculpture of a stellated icosidodecahedron with bevelled edges. A decision theoretic approach to relationships is covered in the book. His proud father hands copies to friends and Larry sells signed copies on eBay.
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Built in a style which has been described as Queen Anne Revival, Arts and Crafts, and Edwardian, this red brick house contains 12 rooms and 3 bathrooms. The front of the house is profiled by a grand L-shaped, wrap-around verandah with stylized Doric columns. A large attached coach house was converted to accommodate automobiles and has a recreation room above. Significant interior features include the centre hall plan, a vestibule door and sidelights with bevelled leaded glass, a large leaded art glass window which lights the landing of the main staircase, two sunrooms, panelled doors and wainscotting, strip hardwood flooring and radiators.
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Among the pottery exhibits is an alabaster, with alternating black and off-white slip in a wavy pattern, a bevelled jug with spiral motives, and a pithoid jar decorated with schematic ivy leaves. All of these items are either directly imported from Minoan Crete or imitating Minoan models. There is also a pair of small scale discs; scholars believe that scales were symbolically placed in tombs in order to weigh the soul of the deceased in the underworld. The copper pan on display is of particular interest because of its muddy content which were the remains of food, apparently from the last supper on behalf of the deceased.
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To the west, on the upper surface of the Escarpment, hummocky morainic ridges deposited by glacial ice form part of the Horseshoe Moraines physiographic region. To the southeast below the Escarpment, is a smooth glacial till plain partially bevelled by lacustrine action, which forms part of the South Slope and Peel Plain physiographic regions. The Town of Halton Hills is underlain by Ordovician shales of the Queenston Formation east of the Niagara Escarpment, and by Silurian dolomites of the Amabel Formation west of the Escarpment. The escarpment face exposes a complex succession of shales, sandstones, limestones and dolomites of the Clinton and Cataract Groups.
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The fibular condyle is larger than the tibial, and extends farther down, giving the femur a bevelled appearance, potentially diagnostic of Saltasauridae but also found in Rapetosaurus and the non- titanosaur Dongbeititan. The tibia is 59% of the length of the femur, and as is normal for neosauropods is wider than it is long on the proximal surface. Diamantinasaurus bears multiple fossae and ridges on the tibia that have not been observed in other sauropods, making them a suite of diagnostic traits. As in many titanosaurs, the distal end of the tibia is flared to over double the midshaft width, although a thin flange along the midshaft may be diagnostic to Diamantinasaurus.
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The standard "New Series" Dalek design incorporates additional detailing to many of the components including the dome, gun, appendage boxes, plunger and eyeball. The fender is larger with a bevelled edge, the lower collar is integral to the casing and the upper collar and mesh are omitted, being replaced by a raised shoulder section beneath the neck bin. The slats have an indented central channel running down their length and the neck bin mesh has a denser, more complex design. The dome lights are substantially larger and enclosed in metal cages and the eye stalk pivot is surrounded by a cowl, below which is a horizontal oblong depression containing an ideogram unique to each Dalek.
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Each of the five New Paradigm variants has a casing of a different colour, representing their role in Dalek society: red, Drone; blue, Strategist; orange, Scientist; yellow, Eternal and white, Supreme. Speaking on the programme Doctor Who Confidential, Doctor Who Executive Producer Steven Moffat stated that the function of the Eternal Dalek had yet to be decided, while writer Mark Gatiss confirmed that the bright colours of the New Paradigm Daleks were inspired by the Daleks seen in the 1960s Amicus films. New Paradigm Daleks are taller than previous variants, having a substantial fender reminiscent of Movie Daleks. The skirt section consists of raised panels with bevelled edges to which forty-eight hemispheres are fixed in twelve columns.
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Interior, Majestic Theatre, 2009 At the south end of Factory Street on the east side of the railway line, the Majestic Theatre stands prominently in the streetscape of the Pomona. A long rectangular cream-painted building, with a striking red trim picking out a number of element (posts, window sills, fascias and cover strips), the theatre is sheltered by a gable roof clad in corrugated metal sheeting crowned with a barrel-roofed ventilation ridge. The roof is concealed from the street by a three-part timber framed parapet with curved fibreboard panels. A bull nosed awning supported by bevelled timber posts with decorative Y-shaped brackets projects out from the building sheltering the footpath.
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With Palais Royal - Musée du Louvre on line 1 and Concorde on line 8, this is one of three stations in the Andreu-Motte style to be treated in shades of purple, this shade being part of the lexicon exceptional colors for this decoration. The platforms of lines 7 and 8 have an elliptical vault and are similarly arranged, with a slight extra curve for line 7, while the platforms of line 8 have a higher of the vault. The style is that used for most metro stations. The lighting canopies are white and rounded in the Gaudin du renouveau du métro des années 2000 renovation, and the bevelled white ceramic tiles cover the walls and the tympans.
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The sharply cropped wingtips of the Latécoère 21 were replaced by bevelled ends of decreasing thickness. The Latécoère 23 carried full span ailerons in three sections per wing, fitted with trim tabs. The wings were not attached directly to the fuselage, but to the sponsons: on each side a parallel pair of streamlined struts leaned outwards from near the tip of the sponson to mid-wing, and a second pair ran inwards to the wing centreline below the engines. On the Latécoère 21 the engines were mounted on the chord line, but the two 500 hp (373 kW) Farman 12 Wes of the later aircraft were mounted on the upper surface of the wing.
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Edward Robinson and Eli Smith visited in 1852 and noted a massive Roman temple had once been located near the village that has been grouped by George Taylor amongst the Temples of Mount Hermon. Robinson suggested the temple was bigger than Nebi Safa and spoke of it having been constructed of stones that were "tolerably large, well hewn, but not bevelled". Fragments of architrave, mouldings and blocks from the temple had been re-used by the villagers making their homes and farmsteads and had been left lying all over the fields, covered in rubbish. Sir Charles Warren also later visited and documented the area as part of an archaeological survey in 1869.
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The archaeological site of El Khiam is located in this area. Letters of Shimon Ben Kosiba, leader of the Jewish Bar Kokhba revolt against Roman occupation (132-135 CE), were found in a valley near Tekoa. Ancient caves and caves that were dug in the karst chalk stone of the Nachal Tekoa or Wadi Khureitun, named after Chariton the Confessor, by monks from the Lavras of Saint Chariton and his successor Euthymius the Great, are right behind Tekoa. Outside Tekoa, at Khirbet Tuqu', various ruins were seen in the mid-19th-century. These included the walls of houses, cisterns, broken columns and heaps of building stones, some of which had “bevelled edges” which supposedly indicated Hebrew origin.
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The ground floor contained the reception area and the restaurant, which was open to passing trade as well as to hotel guests not wishing to spend time and money on a bit meal (so eating "à la carte"). At the back of the building the ground floor also incorporated the kitchens for the restaurant and hotel. Upstairs, the more expensive guest rooms were on the first and second floors, benefitting from the large windows conferred by the remodelled facade on the building's western (front) face, which provided views over the road towards the Roseg valley and glacier. The two corner rooms were particularly coveted, thanks to the small balconies emerging from the bevelled corner shape of the building.
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The Wessex/Middle Rhine gold discs bearing "wheel and cross" motifs that were probably sewn to garments, presumably to indicate status and reminiscent of racquet headed pins found in Eastern Europe, enjoy a general distribution throughout the country, however, never in direct association with beakers. In 1984, a Beaker period copper dagger blade was recovered from the Sillees River near Ross Lough, County Fermanagh, Northern Ireland. The flat, triangular-shaped copper blade was long, with bevelled edges and a pointed tip, and featured an integral tang that accepted a riveted handle. Flint arrow-heads and copper-blade daggers with handle tangs, found in association with Beaker pottery in many other parts of Europe, have a date later than the initial phase of Beaker People activity in Ireland.
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The advertising frames are metallic and the name of the station is written in capital letters or in the Parisine font on enameled plates. The station on line 13 has a semi-elliptical arch, a form specific to the old Nord-Sud stations. The tiles and ceramics are the original Nord-Sud decorative style with advertising frames and nameplates of the station are in a green color, green geometric designs on the walls and the vault, the name inscribed in white earthenware on a blue background of small size above the advertising frames and very large between these frames, as well as the directions incorporated into the ceramic tile on the tympans. The bevelled white earthenware tiles cover the walls, the vault and the tympans.
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Porte de Champerret is a station with a particular configuration. Because of its status as a former terminus, it has four tracks, distributed in two identical half-stations (one per direction) with two tracks framing an island platform under an elliptical vault, layout which it shares with Château de Vincennes on line 1 and Porte de la Villette on line 7. The tracks framing the axial pedestal are used by ordinary traffic on the line, the other two being dedicated to a depot for trains and giving access only to the old terminal loop westbound. The decoration is classic with bevelled white ceramic tiles covering the walls, the vault and the tympans, while the lighting is provided by tubes and spotlights.
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The Palm Court The Ritz's most widely known facility is the Palm Court, an opulently decorated cream-coloured Louis XVI setting. It is decorated with lavish furnishings, including gilded Louis XVI armchairs with oval backs, which the architects had designed based on research into French neo-classical furniture design of the 1760s and 1770s, which were made by Waring and Gillow. The room, with its, "panelled mirrors of bevelled glass in gilt bronze frames" and "high coving ornamented with gilded trellis-work", according to Montgomery-Massingberd and Watkin "epitomizes the elegantly frivolous comfort of Edwardian high life". There were originally large windows at either end of the court, then known as the Winter Garden, and were replaced with twenty panels of mirrors after 1972.
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A Sabre grind without a secondary bevel is called a "Scandinavian grind", which is easier to sharpen due to the large surface. The Finnish puukko is an example of a Scandinavian-ground knife. # Chisel grind — As on a chisel, only one side is ground (often at an edge angle of about 20–30°); the other remains flat. As many Japanese culinary knives tend to be chisel-ground, they are often sharper than a typical double- bevelled Western culinary knife; a chisel grind has only a single edge angle; if a sabre-ground blade has the same edge angle as a chisel grind, it still has angles on both sides of the blade centerline, and so has twice the included angle.
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In addition, the RER station and the neighboring Les Halles station are also referred to as Sector Forum. In certain corridors, the bevelled white ceramic tiles have for the first time dimensions measuring twice those of the classic format, similar to the tiles at Porte d'Orléans station on line 4, and which will subsequently be deployed at Maisons-Alfort - Les Juilliottes on line 8 (from 2016) and Basilique de Saint-Denis on line 13 (in 2018). Subsequently, the names of the two sectors will be gradually added to the left of the nominative panels of the platforms (starting with line 11 in 2018 then line 1 in 2019). The renovation of the connecting corridor from the Rivoli Sector to the Seine Sector was completed later, at the beginning of 2017.
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They make an unexpected and original work in the very traditional environment of the Place Colette. As part of the automation of line 1, its platforms were upgraded during the weekend of 7 and 8 February 2009, then fitted with platform screen doors in October 2010. The corridors of the station were renovated a second time on 31 December 2014, reviving the bevelled white tiling as part of the RATP un métro + beau program. In 2018, the masonry benches on the platforms of line 7, fitted with flat brown tiles, part of the Andreu-Motte style of the station, were covered with smaller orange flat tiles, thus being consistent with the seats and the lighting fittings, but no longer with the outlets of the corridors, as the Andreu-Motte style originally wanted.
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The lighting strips are white and rounded in the Gaudin style of the renouveau du métro des années 2000, and the bevelled white ceramic tiles cover the walls, the vault and the tympans. The advertising frames are in white ceramic and the seats are green Akiko style. The stations of lines 8 and 9 are made up of two half-stations per line, those of line 9 framing those of line 8. The platforms of these two lines, slightly curved at the western end, are furnished in the style Andreu-Motte and have a yellow light strips, benches in flat orange- yellow tiling (except the platform for Pont de Sèvres almost deprived of benches but with a corridor opening treated with the same tiles) as well as yellow Motte seats.
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Both usually have a bevelled cutting edge similar to that on Diagonal pliers in their craw, and each may include an additional gripping, crimping, or wire shearing (for a flat ended cut) device at the crux of the handle side of the pliers' joint. Designed for potentially heavy manual operation, these pliers typically are machined from forged steel and the two handles precisely joined with a heavy-duty rivet that maintains the pliers' accuracy even after repeated use under extreme force on heavy-gauge wire. They usually have grips for better handling than bare metal handles; the grips may also provide insulation for protection against electric shock when working with live circuits, although most models are marked as not listed for such use. Some pliers are certified to withstand a specified voltage, e.g.
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In the range of blade materials' hardnesses, the relationship between hardness and toughness is fairly complex and great hardness and great toughness are often possible simultaneously. As a rough guide, Western kitchen knives are generally double-bevelled (about 15° on the first bevel and 20°–22° on the second), whereas East Asian kitchen knives, made of harder steel and being either wedge- (double-ground) or chisel-shaped (single-ground), are ground to 15°–18°. Care should be taken to avoid confusing the grind of the blade as describing its cross-section and the angle that is ground onto the edge to form a cutting edge. It is very rare to have a knife with a single ground angle forming both the profile and the cutting edge (the exception being perhaps straight razors).
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There is installed the Archaeological Museum Serpa, exposing the evidence recovered in County region, the Paleolithic, Neolithic, of the Metal Age and Roman times. In the square border to the Church of Santa Maria (old Muslim Mosque) stands the so-called Clock Tower, quadrangular, where stands the bell with conical shot of pinnacles surrounded by merlons bevelled. Vestige of the village fence, was transformed into a clock in 1440, becoming the third watchmaking tower oldest in the country. Inserted in the cloth of the walls is part of the Counts of Palace Ficalho in Mannerist style, initiated by Francisco de Melo, Captain-General of Serpa in the late sixteenth century and continued by his sons, Pedro de Melo, governor Captaincy of Rio de Janeiro (1662-1666), and Anthony D. Martim de Melo, bishop of Guarda.
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In May 2013, however, posters indicated that the decoration was still in progress; in March 2014, the wall tiles were destroyed, revealing the original flat white earthenware tiles which were part of the experimental decorations tested in 1900 before the bevelled white tiles were subsequently chosen. The work aimed to improve reception, comfort and safety, as well as the museum scenography, designed in partnership with the Louvre museum. The modernization includes, among other things, the replacement of the wall tiles with facings that are easier to maintain, new seats replacing the glass seats in order to meet safety and accessibility standards, the elimination of the original false ceiling and the installation of a new lighting system. The station reopened its doors on 26 November 2015 after twelve weeks of redevelopment work that required its closure to the public.
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The Mogul Mughal Emerald is one of the largest emeralds known. Auction house Christie's described it as: > The rectangular-cut emerald known as 'The Mogul Mughal' weighing 217.80 > carats, the obverse engraved with Shi'a invocations in elegant naskh script, > dated 1107 A.H., the reverse carved all over with foliate decoration, the > central rosette flanked by single large poppy flowers, with a line of three > smaller poppy flowers either side, the bevelled edges carved with cross > pattern incisions and herringbone decoration, each of the four sides drilled > for attachments, . Originally mined in Colombia, it was sold in India, where emeralds were much desired by the rulers of the Mughal Empire. The Mogul Mughal is unique among Mughal emeralds in bearing a date - 1107 A.H. (1695-1696 AD) - which is within the reign of Aurangzeb, the sixth emperor.
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Since the opening of a temporary crossing of the Tyne, through trains had used Greenesfield station in Gateshead and had reversed at the east end of the Central Station site without making a station call. The trainshed was, jointly with the Lime Street station in Liverpool, the first to be designed and built in Britain using curved wrought iron ribs to support an arched roof. The large section of the ribs was fabricated using curved web plates specially rolled using bevelled rolls; the novel technique was created by Thomas Charlton of Hawks Crawshay, and was estimated to have saved 14% on the cost of the roof ironwork, compared with cutting rectilinear plates to the curve. The station was lit by gas; a demonstration of electric arc-lighting was made, but was not at that date a practical possibility for the large station space.
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Their decoration is quite similar, approaching the style used for most metro stations, with white and rounded lighting canopies in the Gaudin style of the renouveau du métro des années 2000 renovations and bevelled white ceramic tiles covering the walls, the vault and the tympans, on line 12, while the vault of line 13, lower, is painted white. The station on line 13 is also distinguished by the presence of platform screen doors and the absence of seats due to its frequent usage, unlike the platforms of line 12 equipped with white Motte style seats. The name of the station is written in Parisine typography on enameled plates in both cases. The station of line 14 is established at great depth under the well of the Cour de Rome, which disrupts the elliptical vault in the form of a large glass footbridge and brings a little natural light on the platforms.
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The Commune of Cannes coat of arms In 1954, the festival decided to present an award annually, titled the Grand Prix of the International Film Festival, with a new design each year from a contemporary artist. The festival's board of directors invited several jewellers to submit designs for a palm, in tribute to the coat of arms of the city of Cannes evoking the famous legend of Saint Honorat and the palm trees lining the famous Promenade de la Croisette. The original design by Parisian jeweller Lucienne Lazon, who took inspiration in a sketch done by legendary director Jean Cocteau, had the bevelled lower extremity of the stalk forming a heart, and the pedestal a sculpture in terracotta by the artist Sébastien. In 1955, the first Palme d'Or was awarded to Delbert Mann for the film Marty. From 1964 to 1974, the Festival temporarily resumed a Grand Prix.
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The mirror is a perfectly defined unbroken pale rectangle within a broad black rectangle. A clear geometric shape, like a lit face, draws the attention of the viewer more than a broken geometric shape such as the door, or a shadowed or oblique face such as that of the dwarf in the foreground or that of the man in the background. The viewer cannot distinguish the features of the king and queen, but in the opalescent sheen of the mirror's surface, the glowing ovals are plainly turned directly to the viewer. Jonathan Miller pointed out that apart from "adding suggestive gleams at the bevelled edges, the most important way the mirror betrays its identity is by disclosing imagery whose brightness is so inconsistent with the dimness of the surrounding wall that it can only have been borrowed, by reflection, from the strongly illuminated figures of the King and Queen".
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The Distinctive Unit Insignia was approved on 21 September 1971, consisting of a gold demi-sun with eleven gold bevelled rays, surmounted in base by a gold ship's steering wheel of eight spokes with brick red rim, bearing at the hub a Korean Taeguk (scarlet at the top and blue at base), the areas in the lower half of the wheel between the spokes pierced, all above a semicircular blue enamel scroll with ends folded over the horizontal handles of the steering wheel and inscribed, "RESOLUTE" in gold letters. The eleven sun rays refer to the unit's service in Europe, World War II, and its participation in ten campaigns in the Korean War. The Taeguk alludes to the organization's two Meritorious Unit Commendations, Korea and the two Republic of Korea Presidential Unit Citation awards. The ship's steering wheel and the blue scroll allude to the organization's mission to command units employed in the operation of water terminals.
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The building was featured in the Architectural and Building Journal of Queensland on 7 July 1924: > "Brisbane is be congratulated on the enterprise of Dr ACF Halford in > erecting such a modern and up-to-date suite of professional chambers known > as Wickham House, just completed... on Wickham terrace... The building > consists of five floors and basement, that portion facing Wickham Terrace > consisting of two shops, one occupied by Mr DJ Clark (Chemist) and the other > by Medical and Surgical Requisites Ltd... the main entrance... vestibule... > is panelled and floored in marble with swing doors of bevelled glass..." Wickham House was part of the interwar redevelopment of the medical precinct along Wickham Terrace, which included Brisbane Clinic (Lister House), Ballow Chambers, Inchcolm and Craigston. Their construction constituted the second phase, the first being in the 1880s, of Wickham Terrace's growth as a medical precinct. The attic roof was a later addition to the building in the 1960s. Wickham House, together with Ballow Chambers, was the scene of a tragic occurrence in December 1955.
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