Smithson himself compared them to cartouches, ancient Egyptian symbols of identification.
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The map is densely annotated with ideograms contained within descriptive boxes known as cartouches.
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Her fascinating history has been literally pieced together from fragments of statues, forgotten reliefs, recarved cartouches (name plates), and even ancient graffiti.
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It, too, is densely annotated with text, though most of that is contained in 14 cartouches, eight of which lie in the outermost scrolls.
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In "Black, Brown and Beige (After Duke Ellington)" (1989), combs and spindles and scraps of wicker nestle in round-edge wood cartouches that recall a disassembled piano.
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Jewelry, cartouches and body parts were all on the market, and Amelia Edwards, author of "1,000 Miles Up the Nile," was among those who were offered a mummy.
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In many cartouches, Hatshepsut's name had been destroyed and replaced with that of Thutmose III, his father Thutmose II (Hatshepsut's half-brother and husband), or his grandfather Thutmose I (Hatshepsut's father).
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The winged cartouches — made of granite, which is a harder stone — were also given a bath, and they had their edges rounded because they will rest on the ground and children will likely climb on them.
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Diversely shaped, shaded and superimposed cartouches represent the syntactic relations of the verb and noun phrases of a sentence. The edges of the cartouches had particular shapes that indicate one set of inflections, the colors indicate another set of inflections, and the textures yet another one. On the cartouches, letters of hexagonal outline would spell out the forms of particular lexemes. The cartouches formed phrases, with primary phrases overlapping subordinate phrases.
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The curved dormer, enriched with floral cartouches, caps the whole elevation.
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35 (Dec., 1949), pp. 139-149. JSTOR link. See cartouches from the libation jar on Pl. XVI (70 b), cartouches from the offering table on Pl. XVI (70 e) and mention of the heart-scarab p.
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Finally, a fragment of a calcite vase rim bearing two cartouches of Unas is on display in the Petrie Museum.
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In the six center bays on the Exchange Place and Broad Street elevations, there are elaborate cartouches between the 4th and 5th floors, and two cartouches and three lions' heads between the 16th and 17th stories. A terracotta string course runs above the 17th story. These elevations contain one rectangular window opening in each bay.
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Gilded frames were very frequently used in paintings and mirrors, and usually consisted of several cartouches, carved flowers and sculptural figures.
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Other small "S" and "Spring St" mosaics are newer. The "S" cartouches are similar to the ones cast for Canal Street station.
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The top level has small rectangular windows separated by cartouches (decorative ovals). A heavy, ornate cornice with a dentil (rectangular block) course and carved anthemion motifs tops the building. Other elevations contain a similar level of detail, although they lack the two-story arched windows. Windows on other elevations are topped with pediments containing cartouches or lintels with medallions or carved keystones.
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Bronze vessel used as a capacity measure. Inscribed with the cartouches of the birth-name and throne name of Amenhotep III. 18th Dynasty. From Egypt.
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Pharaoh Rudamun of the 23rd Dynasty, 757-54 BC has his name in two cartouches showing the use of the bowstring hieroglyph, (only one uses the bowstring). A white rock crystal vase has two cartouches above the hieroglyphic symbol for union symbol (hieroglyph). One cartouche uses the bowstring hieroglyph and states his name: "A-mn-Rudj–A-mn- Mer", and is approximately: "Amun's Strength—Amun's Beloved".
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Stamp or thumb ring in the form of three cartouches (enclosing dot pattern). Each topped with two plumes and sun disc. Faience. From Meroe. Meroitic period.
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Relief fragment showing a royal head, probably Akhenaten, and early Aten cartouches. Aten extends Ankh (sign of life) to the figure. Reign of Akhenaten. From Amarna, Egypt.
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Relief fragment showing a royal head, probably Akhenaten, and early Aten cartouches. Aten extends Ankh (sign of life) to the figure. Reign of Akhenaten. From Amarna, Egypt.
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The lower halves of the ballroom's walls contain marble wainscoting. Various ornaments, cartouches, and motifs are located throughout the ballroom, including several instances of Guardian Life's initials.
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Petrie Museum of Egyptian Archaeology, UCL, London Alabaster sunken relief depicting Akhenaten, Nefertiti, and daughter Meritaten. Early Aten cartouches on king's arm and chest. From Amarna, Egypt. 18th Dynasty.
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Rich baroque motifs adorned both church interiors and façade: cartouches with writings, volutes, flaming vases, putti, rococo painting ornaments, festoons.Rudnicki Daniel Bernard. Parafia pw. Najświętszego Serca Pana Jezusa (1924-1996). [w.
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Cartouches gauloises (English name, Summer of '62), is a 2007 French film, filmed in Algeria and directed by Mehdi Charef. It was an official selection of the 2007 Cannes Film Festival.
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Dodson & Hilton, p.157. Almost nothing is known of her life beyond being the oldest daughter of a powerful (and long-lived) queen. In the last decade of her father's reign, she was promoted to the status of Great Royal Wife. The evidence for this marriage consists of a blue-faience kohl-tube with the cartouches of Amenhotep III and Sitamun, an alabaster bowl found at Amarna with the same cartouches and jar-label inscriptions from Malkata palace.
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In: The political situation in Egypt during the second Intermediate Period. p. 17. The Royal kinglist of Saqqara from the tomb of Tjuneroy (19th dynasty) lists nine kings for the 4th dynasty, whilst the Abydos King List gives only six names. Curiously the Saqqara-Table has after Shepseskaf two cartouches before Userkaf, but both are heavily damaged, so the original names are no longer legible. Whilst one of these two cartouches once may have held Thamphthis' name, the other cartouche remains a mystery.
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Part 3. 1912–1913, Adamant Media Corporation, , p.23 Cartouches were formerly only worn by Pharaohs. The oval surrounding their name was meant to protect them from evil spirits in life and after death.
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His career flourished during the reign of Tutankhamun, when the statue was made. The cartouches of King Ay, Tutankhamun's successor appearing on the statue, were an attempt by an artisan to "update" the sculpture.
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The men are identified as the High Priest of Akheperure (Amenhotep II), Neferhotep, his son the High Priest of Akheperkare (Thutmosis I), Nay, his son the High Priest of Akheperkare Iuy, and his son the Lector of Akheperure, Mentuhotep. A standard bearer on a tugboat is identified as Nebmehyt his father, Standard- bearer of the Great Company of Nebmare (Amenhotep III).Kitchen, p 290 Another scene shows cartouches of Menkheperre on Feather-fans and a portable barque. A third scene shows two booths with royal cartouches.
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By their preservation in Christian churches, unusual as the setting may be, the carpets were protected from wear and the changes of history, and often remained in excellent condition. Amongst these carpets are well-preserved Holbein, Lotto, and Bird Ushak carpets. The carpets termed "Transsylvanian carpets" by convenience today are of Ottoman origin, and were woven in Anatolia. Usually their format is small, with borders of oblong, angular cartouches whose centers are filled with stylized, counterchanging vegetal motifs, sometimes interspersed with shorter stellated rosettes or cartouches.
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Six of the examples are from Tutankhamun, including a white Alabaster Chest-(Cairo JE 61762), with hieroglyphs down the top center and an end text of three vertical columns. Three cartouches and a horizontal register adorn the box's end text. The horizontal text-(below the cartouches), uses three hieroglyphs that can elucidate a meaning for a hieroglyph block from the scarab artifact, The lion hunts of Amenhotep III during the first ten years of his reign. It is an addition below Ankhesenamun cartouche, a wife of Tutankamun.
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The lunettes of the aisles show prophets with cartouches, while above the columns in the foreground are depicted two small statues of Moses, with the table of the Ten Commandments, and Joshua, with the Sun in his hand. In the upper part, above the marble intarsia of the arches and frieze with dragons, is a series of angels with a garland. Finally, the central top arch includes the figures of Moses and Malachi, who also have cartouches with Latin verses taken from the Bible.
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Many books illustrated in the Mughal miniatures style are also part of the collections. There are five hundred and thirty-five illustrations expressing Islamic ethos, each having a decorative border with ornate floral designs or cartouches.
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The exterior is smooth stucco over concrete block. The roof brackets, gable vents and decorative cartouches are made of cast concrete. The building has an irregular footprint and an asymmetrical façade and sits on a property.
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The difference in the crowns worn by the deities indicates the varying time period occupations in the site. Hieroglyphic text was present above Horus and Hathor; unfortunately, it was mutilated, along with the cartouches that were completely destroyed. The destruction of the hieroglyphs and the cartouches has caused the modern world to lose the knowledge of who was interned in the nearby tombs, and additional information about the events during that time period in Ancient Egypt history. Tombs found at the site revealed that the site was being used during the Old Kingdom.
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Cartouche on a map dedicated to William V, Prince of Orange (1781) Detail showing cartouche on the 1765 de l'Isle globe A cartouche in cartography is a decorative emblem on a globe or map. Map cartouches may contain the title, the printer's address, date of publication, the scale of the map and legends, and sometimes a dedication. The design of cartouches varies according to cartographer and period style. On 15th-century maps they are modelled after Italian precedent (simple strapwork), by the 16th century architectural and figurative elements (like coats of arms) are added.
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Sir John Langham, (d.1671) and his wife's monument is also in the south chapel. It is free-standing in grey and white marble with good cartouches on the tomb-chest. There are two recumbent effigies with much carving.
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The lower balcony has a latticework frieze while the upper has a seashell motif in its shape and flanking cartouches. Much of the detailed woodworking was done by Scandinavian carpenters, which may explain the Viking-style ornamentation on the roofline.
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Here, the entryway features a columned archway featuring the tiles produced by the Bezalel school featuring the designs of Ze'ev Raban produced as ceramic art tiles. One of the columns has tile cartouches of the twelve months, the other, the twelve tribes of Israel. On the sides are a pair of cartouches, one, the famous "Judea capta" coin issued by the Emperor Titus after the Roman defeat of the Jewish Revolt of the year 70. The well-known coin shows a woman, Judea, sitting under a palm tree in chains, over her stands the Roman Emperor in armor.
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Interiors have a neo-baroque twist. Naves are separated by stuccoed arcades, embellished with Rococo ornamented cartouches. The three naves, the chancel and the three apses boast barrel vaults and lunettes. The chancel is enclosed with six monumental Ionic style capital columns.
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It was found to the west of Stela 2.Laporte et al 1992, p.117. It is badly eroded but was sculpted with three cartouches containing hieroglyphic inscriptions. Although now largely illegible, it is evident that a number of calendrical dates were included.
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The interior is designed and decorated in the Austrian Baroque style. The foyer, between the lobby and main entrance, has red marble staircases decorated in scrollwork, cartouches, and garlands. The wrought iron railing is foliated. Murals by two Hungarian artists decorate the walls.
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Base of a headrest inscribed with Pepi II's titulary. Musée du Louvre. Jar with the cartouches of pharaoh Pepi II, from Egypt. Neues Museum, Berlin His mother Ankhesenpepi II (Ankhesenmeryre II) most likely ruled as regent in the early years of his reign.
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He also devised fire-dogs, sideboards, cabinets, console tables, mirrors and other pieces of furniture. Le Pautre was long employed at the Gobelins manufactory. His work is often very flamboyant and elaborate. He frequently used amorini and swags, arabesques and cartouches in his work.
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The exterior is finely detailed and proportioned. The symmetrical facade has a granite-faced basement level capped by a granite water table. The first story is clad in rusticated limestone and is dominated by arched openings. Cartouches (scrolled ovals) separate the first and second stories.
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The windows have carved brackets. There are open pediments with cartouches and brick parapets with molded stone coping. The taller auditorium, to the northwest, features a banded chimney and decorative brickwork facing the south. The east elevation, along Pearl, has circular arcading and banded pilasters.
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As with much of his work, Moll used these maps to publicize and support British policy and regional claims throughout the world.Reinhartz, p 37, pp 135-6.Barber, p 190. The Codfish Map shows in its cartouches a scene from the cod fisheries off Newfoundland.
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Perhaps most importantly, "it was a military whose massed ranks the king took every opportunity to celebrate in temple reliefs, first at Thebes and later at Amarna." Siliceous limestone fragment of a statue. There are late Aten cartouches on the draped right shoulder. Reign of Akhenaten.
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Starting in 1915 and during most of World War I, it was forced to produce cartouches for grenades instead of household appliances. Afterward, the regular production was resumed and at the beginning of 1920, more than 100,000 Bürsten-Messerputz-Maschinen were sold. Knife- cleaning machine n°9.
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A similar reference associated with Hatshepsut in the tomb of Penyati is taken to indicate she had recently died.Murnane, W; (1977) p.42 Finally, a few of her cartouches bear unique epithets not associated with Akhenaten at all. These include "desired of the Aten" and "The Ruler".
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In the sarcophagus, there are relicts of his wife Katalin Andrássy. Above the sarcophagus there are two bronze cartouches with the emblems of the count and his wife. Beside that there is the tin coffin of Tódor Andrássy (1857–1905). There is a sculpture of an angel.
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A frieze with hemispheres, cartouches, and an egg-and-dart molding runs above the second floor. Another frieze runs above the third floor, decorated with wreaths, garlands, bead-and- reel, and egg-and-dart motifs. Atop the third-story frieze is a large cornice supported by terracotta brackets.
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The Aten thus became an amalgamation that incorporated the attributes and beliefs around Re-Horakhty, universal sun god, and Shu, god of the sky and manifestation of the sunlight. Siliceous limestone fragment of a statue. There are late Aten cartouches on the draped right shoulder. Reign of Akhenaten.
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The Venetians were still the main glass and mirror-makers in Italy and produced amongst the best in the world. Venetian mirrors changed little during the Neoclassical period, and still had several cartouches and were often gilded. However, the shape of their girandole changed from being round to oblong.
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The texts also include the cartouches of Ptolemy IX Soter II(called Lathyros) and his mother Cleopatra III. Near this site a green basalt naos was discovered. It was dedicated to Horus by Ptolemy II Philadelphus. The naos is presumed to have come from the temple as well.
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U20, is a portrayal of the adze. It is used mostly in the cartouches of pharaonic names especially, or other important names. The adze on blockCollier and Manley, 1998, How to Read Egyptian Hieroglyphs, p. 142. has the Egyptian language value of stpCollier and Manley, 1998, p. 142.
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The implementation of Atenism can be traced through gradual changes in the Aten's iconography, and Egyptologist Donald B. Redford divided its development into three stages, earliest, intermediate, and final, in his studies of Akhenaten and Atenism. The earliest stage was associated with a growing number of depictions of the sun disc, though the disc is still seen resting on the head of the falcon-headed sun god Ra- Horakhty, as the god was traditionally represented. The god was only "unique but not exclusive." The intermediate stage was marked by the elevation of the Aten above other gods and the appearance of cartouches around his incribed name—cartouches traditionally indicating that the enclosed text is a royal name.
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Similar decoration continues on the shallow ceiling dome. It is coffered, with plain and decorated grillwork and solid recessed panels with dentils, anthemion leaves and other foliate molding. Rosettes mark the interstices. Around the central recess is a wide band with urns, rosettes and cartouches bordered by rinceau and foliate triangles.
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Painted Thutmosis III cartouches (temple relief), Deir el-Bahari. The ancient Egyptian Bull (hieroglyph), Gardiner sign listed no. E1, is the representation of the common bull. The bull motif is dominant in protodynastic times (see Bull Palette), and also has prominence in the early dynastic Egypt, famously on the Narmer Palette.
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The site includes the remains from a temple to Hathor with a number of cartouches on mud bricks and a royal stela from the Second to Third Dynasties.Porter, Bertha and Moss, Rosalind. Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs and Paintings, V Upper Egypt: Sites (Volume 5). Griffith Institute. 2004.
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Decorations came from a pattern book, these would be scrolls on the Equation of Time ring, coats of arm and cartouches for signatures. ;1800 :Simplification of design. The oakleaf decoration was replaced by a zigzag design. Troughton & Simms was one of the last of the mathematical instrument makers who made dials.
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Foundation plaque bearing the double cartouches of Queen Twosret. From the mortuary temple of Twosret (Tawesret, Tausret) at Thebes, Egypt. 19th Dynasty. The Petrie Museum of Egyptian Archaeology, London Theodore Davis identified Twosret and her husband in a cache of jewelry found in tomb KV56 in the Valley of the Kings.
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The station features two styles of "Bleecker Street" station identifiers made by the Grueby Faience Company in 1904. The large "Bleecker Street" plaques were assembled from 27 pieces of faience ceramic. They depict poppies. The smaller blue "B" cartouches show tulips, probably a reminder of the Dutch origins of the city.
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Their previous seat was Chojnik Castle, burned down due to lightning strike. Their Schaffgotsch Palace's greatest ornament are the two semi-circular finished porticos with richly ornamented cartouches carrying the family crest of the owners. The interiors boasts early classicistic fittings. The palace currently houses a branch of the Wrocław University of Technology.
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Dynastie, GM 127, (1992), 17-19 The only contemporary attestation safely attributable to Sewadjare Mentuhotep V is a single fragment of a relief showing his cartouches. The relief was found in the ruins of the mortuary temple of Mentuhotep II during the excavation of Édouard Naville at the beginning of the 20th century.
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Above the second story are ornamental cartouches over carvings of beaver heads. There are panels between the window groupings on the third story, and a cornice over the third story. The nine-story shaft is composed of alternating bands of buff and tan brick. The windows are surrounded by glazed green terracotta tiles.
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The small three-stage tower rises from the division between the chancel (left) and the nave (right). There are several Georgian memorials cartouches with fine lettering. The church displays elements of the Transitional style from Norman to Gothic architecture and the Early English Gothic style. These styles reflect the date of its construction.
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The map has decorative enframes-cartouches on its sides, with two big cartouches at the top quadrants and two small ones at the bottom quadrants. The big cartouche at the top left shows the biblical Israeli leaders Moses and Aaron placing their hands on Israel's Tablets of the Law with the Ten Commandments inscribed in Hebrew. Above them at the top of the cartouche frame within another frame, appears a caption of the Hebrew word "יְהֹוָה" - YHWH, the tetragrammaton as the most sacred name of God. The big cartouche at the top right quadrant shows the biblical story of Adam and Eve in Paradise, which is based on Albrecht Dürer's engraving from 1504 under the title Adam and Eve - with small differences between the two.
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Dodson & Hilton, pp.54-55 There is no evidence that either Djedefhor or Baufra ruled as a pharaoh, even though only pharaohs' names were written in cartouches during the 4th dynasty. The Teachings of Djedefhor, a document of which only fragments remain, is attributed to him. Djedefhor seems to have been deified after his death.
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The plain walls of the auditorium were painted as to imitate colossal pilasters, architraves and cartouches. It was heated by one or possibly two cocklestoves; one of them may have been a dummy. The new theatre was finished in 1753. The aforementioned French theatre troupe is known to have visited the theatre that same year.
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Other fittings, including pews and the pulpit, are 17th-century and described by English Heritage as "little altered". On the plaster walls are painted cartouches with Biblical texts, one dated 1630. The church was recorded as Grade I listed in 1968. The benefice was united with Boyton in 1909, although the parishes remained distinct.
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The building was designed in the Beaux-Arts style. The style is monumental and considered Beaux-Arts style with axial symmetry in plan and eclectic exterior ornamentation with an abundance of Neo-Baroque decorative elements. These include very elaborate relief, Doric pilasters, domes cartouches Labels and triangular cornice above windows. The first floor decorated with banded rustication.
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Notable features to the building are intricate details in the masonry, including mascarons and cartouches throughout the door and window areas. These are noticeable as carved faces, characters and natural items like leaves and berries. There are a total of 138 carvings around the building. This doorway shows the detailed carvings around the entrance of different characters and plants.
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The interior was redesigned by Martin & Chamberlain in 1890–91, and in 1893–95 the firm built an eight-storey red brick and terracotta block fronting onto Barwick Street. Within this block an elaborately decorated ballroom was built, named the Grosvenor Room. It is long and high. The decoration includes ornate plasterwork, giant corinthian pilasters and elegant cartouches.
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Ruthmere was designed by E. Hill Turnock in an eclectic Beaux-Arts style with Prairie School accents. The three-story structure is faced with buff-colored Belden brick from Ohio and native Indiana limestone. Carved stone quoins, capitals, cartouches and window surrounds add exterior interest. The covered entrance is supported by square brick pillars created by carved limestone capitals.
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A chandelier hangs from an ornate plaster medallion in the library ceiling. Also in the library is an Italian marble fireplace with colonnettes, paneled spandrels and finely carved friezes and cartouches. It has a cast iron fireboard ornamented with a brass crane. On the south side, the dining room has a similarly foliated band around the ceiling.
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Different bonds of brick (including American bond and English bond) were used throughout to add textural interest. Fanlike terra cotta motifs were inserted above second floor windows. Cartouches of terra cotta were placed between the top-floor windows, and decorative terra cotta eave brackets were beneath the roof. Three-sided multi-paned bay windows projected into the courtyard.
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The building's facade is adorned with six representations of Caduceus, a winged staff entwined by a pair of snakes. There are also eight cartouches. Chef Jean-Georges Vongerichten bought an apartment in the building in April 2001 for $2.62 million, which he then sold in 2004 to Hiromi Go, a Japanese pop star, for approximately $3.25 million.
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It was characterized by the representational style popular at the time and featured newly arranged cypress wood pews, and richly decorated paneling. The balustrade railings were embellished with molding and decorative elements (cartouches) embossed with gold. Friedrich Laske was also responsible for new architectural demands such as fire protection, heating, lighting, and improved of visibility from the balconies.
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These elevations are linked with cement banding. The corner tower has large openings at the base with deep lintels with dentils and scrolls. The single windows above have pilasters and single scrolled brackets under the sill, and are surmounted by deep arched hood mouldings with cartouches. The tower roof is topped with an idiosyncratic concave peak and finial.
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The wooden canopies feature a band carved with cartouches of Arabic calligraphy featuring a Qur'anic verse from the Surah al- Ahzab. The stucco carvings are again very fine and feature a variety of motifs. A band of stucco featuring a star-like pattern runs around the rest of the building on the outside, just below the wooden roof.
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Both styles of the papyrus roll, "-tied" or "-open", are an ideogram for "roll of papyrus", with a phonetic value of m(dj)3t.Betrò, 1995. Hieroglyphics: The Writings of Ancient Egypt, p. 237. Some artistic versions of the papyrus roll show the laminations, or grid-work, the cross-hatching of the papyrus fibers, for example on Thutmose III's cartouches.
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The theater was designed for live performance, with a large stage and supporting spaces. The theater's street facade employs Missouri limestone piers with terra cotta cornices, cartouches, quoins and parapets. Infill between these decorative elements is brick. A fire in 1920 completely gutted the stage area, but the remainder was saved by the fireproof asbestos curtain.
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It is perforated by the calm rhythm of windows. Double shallow pilasters with the simple base and capitals rise through the first four floors. In the highest zone there are two cartouches which accentuate the corner part. The ground floor with transparent shop windows is set back from the upper levels providing the deep, brightly- lit overhang.[М.
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At the roof a corbeled cornice above a frieze supports wide overhanging eaves. The centrally located main entrance is in a slightly projecting pavilion on both stories. It, too, has a recessed round-arched entrance, flanked by cartouches, with a small set of steps. Below them are stone plaques on the foundation with the words "United Traction Company".
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The building presents architectural forms of Modern architecture and Eclecticism. The facade is adorned with stylish ornaments, such as Auricular style details, characteristic of Mannerism and Rococo periods. The massive facade is flanked by two piles of balconies with wrought iron balustrade. The first floor is decorated with bas-reliefs and gargoyles, whereas the third level is enriched with cartouches and upper friezes.
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It has been built on a rectangular outline, with two angular towers on the northern side. The towers are decorated with bossage, pilasters, cornices and blind windows and are roofed with tented roofs. Northern and southern façades have ostensible avant-corpses, separated by cornices on the sides. The avant-corpses contain tympanums with stucco reliefs and coat-of-arms cartouches.
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His armorials are displayed on the wall within two cartouches on either side of his effigy impaled with the arms of his two last wives. Next to this on the east side is an effigy of his second wife Dorothy Bampfield (d.1617), under an adjoining matching Gothic arch. An epitaph and two chronograms are inscribed on a stone tablet above his effigy.
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The first gateway crosses an enclosed cartouche of Ptolemy VI. On the interior façade of the first gateway are passages of Ptolemy XI and Ptolemy XIII. The jambs next to the first gateway depict Nefertum bearing a blue lotus flower. The second and fourth gateways contain cartouches in the name of Shabaka. The third gateway cartouche is in the name of Ptolemy XIII.
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The Last Cartridges (French: Les Dernières Cartouches) is an 1873 painting by the French artist Alphonse de Neuville.Thomson p. 165. It recreates an incident of the Franco-Prussian War, when the French defenders of Bazeilles fought to the last cartridge during the 1870 Battle of Sedan. The fighting at Bazeilles was celebrated by the French nation amidst an otherwise catastrophic defeat.
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Lesenes set on lateral sides of the façade are decorated with Eastern ornament. First floor is rusticated. There is an arch at the front door and an arch at the entry to the yard – they both are decorated with keystones with lion masks. Cartouches, on central one of which the year of building of the house – 1897 – is carved, adorn façade entablature.
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At the top of the first floor is the German inscription (Free Library and Reading Room) as well as an egg- and-dart molding. The articulation of the library's upper floors is similar to that of the adjacent clinic building. The second and third floors both have three narrow arched windows that are tall. The voussoirs above the windows contain decorative terracotta cartouches.
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The Aten may also have been the subject of Akhenaten's royal Sed festival early in the pharaoh's reign. With Aten becoming a sole deity, Akhenaten started to proclaim himself as the only intermediary between Aten and his people and the subject of their personal worship and attention. Inscribed limestone fragment showing early Aten cartouches, "the Living Ra Horakhty". Reign of Akhenaten.
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An extremely rare group of carpets, "chequerboard" carpets were assumed to be a later and derivative continuum of the Mamluk and Ottoman Cairene group of carpets. Only about 30 of these carpets survived. They are distinguished by their design composed of rows of squares with triangles in each corner enclosing a star pattern. All "chequerboard" carpets have borders with cartouches and lobed medallions.
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Neo-Baroque city-house from Bucharest (Romania) A cartouche (also cartouch) is an oval or oblong design with a slightly convex surface, typically edged with ornamental scrollwork. It is used to hold a painted or low-relief design. Since the early 16th century, the cartouche is a scrolling frame device, derived originally from Italian . Such cartouches are characteristically stretched, pierced and scrolling.
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Surmounting the main door is a triangular pediment and a rectangular framed panel showing symbols representing the three cardinal virtues below a backrest and angular cornice. This tympanum of the central panel has the inscription SUPER THESAUROS ALCISFUIT 1 Par. C.XXVII 25. Within each framed panel are rectangular framed windows, with the two central superior windows surmounted by framed cartouches.
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With regard to the rendering of terrain Bonne maps bear many stylistic similarities to those of his predecessor, Bellin. However, Bonne maps generally abandon such common 18th century decorative features such as hand coloring, elaborate decorative cartouches, and compass roses. While mostly focusing on coastal regions, the work of Bonne is highly regarded for its detail, historical importance, and overall aesthetic appeal.
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At the top of its stairs is an iron and glass vestibule with intricate carved cartouches, scrolls, foliage and circles. Above this entrance, on the second story, is a pictorial stained glass window attributed to the Tiffany studio. On the western corner, a terrace begins. It wraps around the corner to become a porch running the length of the southwest facade.
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Bone fragments of the arm, leg and foot were recovered during evacuation of the sarcophagus. These were identified as belonging to a mature adult female with osteoarthritis. The walls of the substructure contain Pyramid Texts. In the mortuary temple of Ankhesenpepi II's funerary monument, a decorative block bearing the cartouches of Pepi I, Pepi II and Merenre I was discovered in 1998.
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The Bubastite Portal at Karnak, showing cartouches of Sheshonq I mentioning the invasion from the Egyptian perspective. In the fifth year of Rehoboam's reign, Shishak, king of Egypt, brought a huge army and took many cities. According to Joshua, son of Nadav, the mention in 2 Chronicles 11, 6 sqq., that Rehoboam built fifteen fortified cities, indicates that the attack was not unexpected.
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The frontal view of the triptych depicts the martyrdom of Saint Dorothea in a style which is reminiscent of Michiel Coxie. The paintings on the reverse side of the triptych reveal the originality of van der Baren. The reverse side shows architectural frames with views of Leuven and cartouches with rose garlands. Two poems are painted in trompe-l'œil on illusionistic paper sheets.
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Both platforms have cream-colored tiles and a pink trim line with "79TH ST" written on it in black sans serif font at regular intervals. These tilings were installed during a 1970s renovation that covered most of the original mosaics and cartouches. Some of these as well as the decorated ceiling beams can still be seen by the fare control areas.
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As an illustrator, her most productive years were between 1911 and 1917. Her images appeared on postcards and children’s china as well as in books. Le Mair worked in watercolor, a medium that showcased her delicate, detailed drawings with their muted flat color washes. She often used decorative cartouches shaped as ovals or rounded rectangles to set off her illustrations.
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Noted for playful rococo ornamentation, the interior of the church is one of the most valuable in Lithuania. It is heralded by the cartouches of the portal with coats of arms and fresco settings in the monastery-like corridor leading to the church. There are 16 altars in the church. The altars and the pulpit are lavishly decorated with round and relief sculptures and ornamentation.
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The crew cleared the huts and rock debris beneath. On 4 November 1922, their young water boy accidentally stumbled on a stone that turned out to be the top of a flight of steps cut into the bedrock. Carter had the steps partially dug out until the top of a mud-plastered doorway was found. The doorway was stamped with indistinct cartouches (oval seals with hieroglyphic writing).
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Voyage dans la Basse et la Haute Égypte, plate 134, Paris who was part of Napoleon's expedition to Egypt in 1798 to 1801, which published a slightly more detailed scene in 1809.Description de l'Égypte, Vol. II, Antiquités, Plate 11, Paris Thirty years later, the complete scene including the cartouches of the kings was published by John Gardner Wilkinson in 1837,John Gardner Wilkinson (1837).
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The exterior colonnade carries an entablature adorned with a full frieze containing the inscriptions "To the memory of the Brave Soldiers and Sailors Who Saved the Union," A cresting of eagles alternating with cartouches surmounts the cornice. The monument terminates in a low conical roof crowned by a richly decorated marble finial. The Riverside Park Conservancy maintains the plantings in the area surrounding the monument.
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Before raising their own edifice, the Romans seem to have destroyed even the basements of the earlier Egyptian temple. The ceremonial way, which probably linked the quay to the temple, has disappeared. The quay bears cartouches of Marcus Aurelius. The cemetery west of the town, where the Lates niloticus was buried, also contains human burials dating of the Middle Kingdom to the Late Period.
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The stained glass in the windows came from a number of designers and manufacturers, who include William Wailes, Clayton and Bell, Lavers and Barraud, Alexander Booker and Burlison and Grylls. One of the windows is to the memory of the painter Richard Wilson, who is buried in the churchyard. Other monuments include a brass dated 1602 and a series of cartouches dating from between 1666 and 1757.
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Kneeling statuette of a king Necho. It may depict either Necho I or II. Brooklyn Museum (acc.no. 71.11) Necho I is primarily known from Assyrian documents but a few Egyptian objects are known too. A glazed pottery statuette of Horus which contains his cartouches and a dedication to the goddess Neith of Sais is now exhibited at the Petrie Museum of Egyptian Archaeology (UC 14869).
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Fresco of Seth at Adam's deathbed In the 14th century, star-shaped vaults were completed in the chancel and nave while the apse retained its half dome. The altarpiece, dated 1674, is rather unsophisticated baroque although the scenes in the central panel of the Last Supper and the Resurrection are somewhat earlier. The pulpit in the auricular style (c. 1650) presents cartouches of Faith, Hope and Charity.
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The lower zone is a rusticated granite base with deeply recessed joints that extends across the first story. The middle zone is characterized by smooth granite with windows topped with pediments and cartouches (decorative ovals). The upper zone is a recessed fifth story, where stylized eagle motifs separate the windows, and parapet. The interior of the U.S. Custom House contains a variety of high-quality finishes.
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It is crowned by a clock, supported by the lion and unicorn, with English roses and Scottish thistles, and the motto "Tutum te sistam". Two cartouches contain the Liver bird to the left, representing Liverpool, and a cross and dagger to the right. Howells & Stokes, who were located in New York City, sent Seattle architect Abraham H. Albertson as their representative to supervise the construction.
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Some experts have interpreted these additions as signs of collaboration between the Nubian and Ptolemaic governments, but others consider them to represent a period of Nubian occupation of the region, likely enabled by the revolt of Hugronaphor in Upper Egypt. The cartouches of Arqamani were later erased by Ptolemy V, while the stela of Adikhalamani was eventually reused as filling under the floor of the pronaos.
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It was turned into a storage-room where statues were kept and was therefore referred to at that time as the marble supply-house. In 1830, Jakub Kubicki rebuilt the structure in the classicist style. Between the segments added on the east side, he introduced columns with partially grooved shafts. The external decorations incorporated cartouches with panoplies and masks of Mars, the god of war.
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All the carriage houses follow a similar basic plan that persists despite later conversion into private homes and a variety of facade materials. The ground floor entrance has a large round or segmental arch, but is sometimes flat, with an accompanying pedestrian entrance. Specifically equestrian decorative touches such as symbols or cartouches were kept to a minimum. The interiors have often been extensively remodeled for their current residential use.
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On December 3, 1979, a London dealer bid the sum of $18,000 USD for a dentil shaped Meissen porcelain thimble, circa 1740, at Christie's auction in Geneva, Switzerland. The thimble, just over a half inch high, was painted in a rare lemon-yellow color about the band. It also had tiny harbor scene hand painted within gold-trimmed cartouches. The rim was scalloped with fired gold on its bottom edge.
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The columns rise from black octagonal bases and are adorned with eagles, flowers, glass jewels highlighted by silver leaf to a height of approximately . The Corinthian capitals are also silver leafed and bear images of a variety of animals and birds. The columns support plaster beams decorated with faces, starbursts and cartouches. Between the columns are small balconies on the mezzanine and balcony levels that overlook the main floor.
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The remainder of the exterior walls are brownish brick backed by hollow clay tile. The two main facades have extensive Indiana Limestone trim for the water table, belt courses, window trim with quoins, decorative cartouches, and Tudor arch main entrance. A decorative copper cornice is located above the storefront windows and doorway on one end. The main facade contains the entryway to the Longyear offices on the first floor level.
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The "Society of Stucco-workers", founded in 1783, still had 68 members; in 1798 there were 27, and by 1864 only 9. The masterpiece of the Wessobrunner School is the Wies Church (from 1744), built and stuccoed by Dominikus Zimmermann and frescoed by his brother, Johann Baptist. In this building, even architectural elements become, as it were, ornament. The arches of the choir arcade are in fact monumental bisected rocaille-cartouches.
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In July 2017, archaeologists discovered skeletal remains of a family of three, one of the adults and a child wearing earrings, believed to have been killed during an Egyptian invasion in the 13th-century BCE. A 13th century BCE amulet, various scarabs and cylinder seals were also found on the site. The amulet bears the cartouches —or official royal monikers— of the Egyptian Pharaohs Thutmose III and Ramses II.
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There is no contemporary evidence bearing his name. His cartouches appears on a 12th Dynasty wooden coffin inscribed with Coffin Texts and originally made for a steward named Nefri, was found in Deir el- Bersha and now is in the Egyptian Museum in Cairo (CG 28088).Pierre Lacau, Sarcophages antérieurs au Nouvel Empire, tome II, Cairo, 1903, pp. 10–20.Alan Gardiner, Egypt of the Pharaohs, an introduction.
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The reliefs of the temple are dated to the Greek-Roman era and are similar to the ones in Dendera and Philae. On the walls of the temple and the pylon the cartouches of Hadrianus, Antoninus Pius, Galba, Otho, Vespasianus and Julius Caesar can be seen. On the reused blocks built into the outer walls of the temple, reliefs stylistically dated to the New Kingdom can be seen.
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The church possesses some very notable monuments including a standing sandstone wall monument to Sir John Chichester (d.1569) at the West end of the South East chapel with columns and strapwork cartouches. On the North wall of the chancel can be found a fine monument with original colour to Sir Robert Chichester (d.1627) with two rows of life-size kneeling figures, including children facing a double prie-dieu.
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All the main windows of this face are double transomed. East wing: south face, showing centrepiece The east face of the eastern wing has four bays with canted bay windows, shaped end gables and a central cartouche. In the centre of the northern (garden) face is a large bow window, originally Jacobean, which illuminates the chapel; it has stone panels decorated with cartouches below arched stained glass lights.Pevsner & Hubbard, p.
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Above it is a molded stone cornice and frieze, carved in foliage and flowers, which extends around the towers. The windows are complemented by two dormers similar to, but larger than, the tower dormers. The next three bays have a single window on the first and second story with cartouches at the lintels. Above the second story is a wide frieze with cornucopia, shells, torches, flowers and other foliage.
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The Steele design for the Shibe façade was in the ornate French Renaissance style, including arches, vaultings, and Ionic pilasters. The grandstand walls were to be of red brick and terra cotta and featured elaborate decorative friezes with baseball motifs, while cartouches framed the Athletics' "A" logo at regular intervals above the entrances. The souvenir program on Opening Day called it "a fetching combination of color."Kuklick, p.
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Right Door with two busts in each archivolt The arch of the right door, the southern portal, represents the Last Judgment. The double archivolt is divided into two equal parts by two heads in the center flanked by cartouches. Some authors identify these heads with the figures of archangel Michael and Christ. For others, they are Christ-Judge and an angel or may indicate God the Father and God the Son.
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In 1674, Ferdinand Verbiest developed the Kunyu Quantu, a similar map, but with various improvements. It consists of eight panels, each 179 cm x 54 cm, together displaying two hemispheres in Mercator projection. The two outer scrolls individually depict cartouches that contain several kinds of information on geography and meteorology. The making of Verbiest's Kunyu Quantu was intended to meet the interest of the Kangxi Emperor, as Verbiest's introductory dedication implies.
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Its tenants have also included a newspaper, and the Y.M.C.A. The building changed its name to the Hoffman Building in 1918 and then to the Turnbow Building in 1927. It has been known as the Republic Building since 1923. The building is eight stories tall, built of brown brink with load bearing walls. Terra cotta ornamentation includes several cartouches with a raised "P" representing the original owner, Allen Paul.
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It is a two-story steel frame structure on a stone foundation faced in beige brick with a flat roof, five bays along the west (front) elevation on Broadway, and three on the south along Columbia. The two sides facing the streets have ornamentation in stone and terra cotta. On both facades, the windows are recessed in round-arched openings topped by scrolled keystones. Between them are large cartouches.
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14 Georg Dehio, Handbuch der deutschen Kunstdenkmäler: Berlin, 3rd ed. rev. Michael Bollé and Sibylle Badstübner-Gröger, Munich/Berlin: Deutscher Kunstverlag, 2006, , p. 124 between which are limestone decorative elements in the form of similated balustrades, allegorical figures, and cartouches with craft symbols, such as an iron between pairs of scissors.Plans and photographs, M. Rapsilber, Alfred Messel, Berliner Architekturwelt Sonderheft 5, [volume 1] Berlin: Wasmuth, 1905, , pp. 58-62.
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Part of the nave of the Cappella Palatina The nave had different forms of decoration from the north and south to the east and west. Intricate lacing from the ceiling mold outline the arches of the nave in the north and South. These outlines are accompanied by oval medallions and cartouches. In the East and West, the decoration is similar to the muqarnas ceiling but is missing some molding for the borders of the ceiling.
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The colored terracotta panels served to highlight the steel superstructure. Communications between Gilbert and Andrews show that Gilbert had initially preferred a single-color scheme for the facade. However, Andrews had convinced Gilbert to add color after they traveled to see the buildings on the Columbia University campus. Detail of the base The lowest two stories of the base are rusticated granite piers topped by Tuscan-style capitals with cartouches, festoons, and plaques.
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The cartouche painted by Quellinus in grisaille represents sculptures of the Virgin and Christ Child subduing the serpent. The serpent clutches the apple of Original Sin. The intricate stone cartouche is crowned at the upper corners with a pair of swans. Van Thielen painted ivy (a symbol of death, remembrance and eternal life) into the cartouches and added a variety of flowers: roses, jasmine, daffodils, snow drops, hydrangea, nasturtium, apple blossoms, anemones.
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Each of these slabs is decorated with refined paintings. Above the panel there is a marble stalactite cornice. Large expanses of the walls are decorated with painted plaster; the arches and the internal dome are ornamented by high-relief papier-mache cartouches, gilded and painted. The ornate carved headstones in the inner room of the mausoleum merely indicate the location of the actual tombs in a crypt directly underneath the main chamber.
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H. Breasted, Ancient Records of Egypt, p.418 but the same year that the trial documents record the trial and execution of the conspirators. Cartouches of Ramesses III. Although it was long believed that Ramesses III's body showed no obvious wounds, a recent examination of the mummy by a German forensic team, televised in the documentary Ramesses: Mummy King Mystery on the Science Channel in 2011, showed excessive bandages around the neck.
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The two other bays contain each an empty semicircular niche underneath a framed rectangular panel. The space between the capitals is filled with four ornamented oval cartouches. On top of the façade stands a triangular pediment with four acroteria in the form of a vase and in the middle an iron cross. This façade would become a model for the design of the façade of the Church of the Gesu by Giacomo della Porta.
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The ground plan is shaped somewhat like a Greek cross; the arms are 38.5 m and 34.2 m long and are each 17 m wide. There are niches on the outside which contain statues of the four Evangelists by Francuß Bingh. The stone balustrades were decorated with 28 figures, also by Bingh, depicting the apostles, prophets and other Biblical people. The interior of the church is decorated with ornamental stucco (cartouches, rocaille).
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The archcathedral in Oliwa is a three-nave basilica with a transept and a multisided closed presbytery, finished with an ambulatory. The façade is flanked by two slender towers, 46-metres tall each with sharply-edged helmets. It is enlivened by a Baroque portal from 1688, as well as three windows of different sizes and three cartouches. The crossing of the naves is overlooked by a bell tower, a typical element of the Cistercian architecture.
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Each face of the building has a garage-style lifting door, above which is a band of four windows. The shape of the building's roof was custom-designed to house the carousel, which has an unusual scalloped top with barrel vaults. The interior of these vaults is painted with a cloud-dotted sky, with the rim decorated with cherubs, cartouches, and international scenery. The carousel consists of a series of wooden sweeps, braced by brackets.
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"Few land surveyors even attempted to show relief; it was not essential to their purpose of recording boundaries and areas". They often had elaborate cartouches giving the name of the estate owner. Typically, little or no detail is shown for land not owned by the person or organisation commissioning the map. Estate maps were frequently accompanied by field books that contained the key to symbols on the map and had information about tenants and crops.
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The front of the building features seven arches in front of a portico containing the entrance, which is located at the top of a marble staircase. The three central arches are topped by a carved frieze, and marble cartouches separate each pair of arches. The building served as Mattoon's post office from its construction until 1980, when a new post office opened. The building was listed on the National Register of Historic Places in 1979.
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It has Beaux Arts styling including "a watertable composed of green glazed bricks surmounted by a cast concrete band and a series of prominent cartouches mounted at the entablature level along the main facade and on the building's corners." A second contributing resource on the property is a five-story hose tower. It was designed by architect Clarence W. King and built by contractor W.H. Werner. With It has hosted the Shreveport Regional Arts Council.
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The tomb consists of four sections: the antechamber, the hall of columns, a second hall, and the shrine. The entrance to the tomb was originally decorated with inscriptions to the Amarna Royal family and the deity Aten. These decorations have either been destroyed, or are hidden by the modern doors protecting the tomb entrance. The antechamber itself shows Meryre offering prayers to the Akhenaten, and the cartouches of the king, Nefertiti and the Aten.
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The ceiling is composed of plaster that is painted to emulate gilded wood, with moldings of classical and figurative details. The Klee-Thomson Company plastered the ceiling. According to Matthew Postal, the moldings include "scroll cartouches bordered by cherubs, nude female figures with wings, cherub heads, satyr masks, vases of fruit, foliate moldings, and disguised ventilation grilles." The moldings frame a three-part mural, created by James Wall Finn and completed in 1911.
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Rodolfo Pallucchini, in Lotto, Electa 2004, pag. 17. Christ the Vine Lotto also frescoed the ceiling between (and using) the beams, creating a fake pergola against a bright blue background, with playing putti and cartouches with biblical and liturgical passages about vines and wine as used in the mass. The brushwork is quick but efficient and the work's taste for popular narration (typical of Lotto) remains wedded to the north Italian tradition.
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From left to right, the other saints in the circles are Saint Apollonia, Margaret of Antioch with saint Lucy, Saint Ursula, saint Barbara with Catherine of Alexandria, Mary Magdalene with Catherine of Siena, the Virgin between two angels, John the Baptist, saint Peter with Saint Paul, Alexander of Bergamo with Saint Stephen and Saint Sebastian, Saint Dominic with Augustine of Hippo and finally Francis of Assisi. Damaged cartouches above their heads give their names.
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At Wadi Hammamat a rock inscription dates back to the 12th dynasty. It lists five cartouche names: Khufu, Djedefra, Khafra, Baufra and Djedefhor. Because all royal names are written inside cartouches, it was often believed that Baufra and Djedefhor once had ruled for short time, but contemporary sources entitle them as mere princes. Khufu's attendance roll call in this list might indicate that he and his followers were worshipped as patron saints.
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The reception area opened up into another loggia with large open windows on one side, and it may have been a space used in the winter when the sun would have warmed it. This space was decorated with a scene showing Akhenaten adoring the cartouches of the Aten. Another niche mentions the titles of Nakht and had the Hymn to the Aten inscribed on it. Off the main hall was an entrance to another reception room.
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The hall, from the ground floor to the attic, has been painted with an extensive and extremely well-preserved trompe-l'œil fresco that includes elements painted to resemble woodwork paneling, elaborate cartouches, and a richly detailed cornice. Some of the downstairs chambers have also retained portions of this fresco work. The frescoes are believed to be the work of a Danish artist named Wallentine L. Keiler (b. 1840) whose name is painted on an attic post.
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Ornamented parapets with center cartouches and corner finials surround the dome. From March to November, 1981, the station was the eastern terminus of PennDOT's Parkway Limited train, which took commuters to Pittsburgh. Until 2005, Greensburg was served by the Three Rivers (a replacement service for the Broadway Limited), an extended version of the Pennsylvanian that terminated in Chicago. Its cancellation marked the first time in Greensburg's railway history that the town was served by a single daily passenger train.
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The Codex Aubin is written in mixed pictographic-alphabetic format, and a number of painters and writers worked on it. The first part of the Codex Aubin, consisting of the Mexica migration history from Aztlan to Tenochtitlan, is written in clustered annals structure. Years, represented by hieroglyphs in square cartouches, are grouped in rows or columns, these year blocks allowing more space for a longer alphabetic text. The years are written from left to right and top to bottom.
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The prints are vertical tate-e sheet-prints, and comprise the first and second panels of a tetraptych. As Japanese prints of the Edo period were read from right to left, they represent the two right-hand panels of the four- panel set. They are numbered with the kanji characters 一 (1) and 貳 (2) in black ink within yellow squares at the top of the left-side column of the rectangular seal and signature cartouches.
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Hoefnagel worked intermittently on the Civitates his whole life and may have acted as an agent for the project, by commissioning views from other artists. He also completed more than 60 illustrations himself, including various views in Bavaria, Italy and Bohemia. He enlivened the finished engravings with a Mannerist sense of fantasy and wit by using dramatic perspectives and ornamental cartouches. Due to the topographical accuracy he heralded the realist trend in 17th-century Netherlandish landscape art.
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There are many ships in the river. In the sky above the city, to the right of St Paul's, are angels holding a banderole with the title "London", to either side appear angels bearing trumpets decorated with the royal coat of arms and the arms of the City of London and then in the upper corners cartouches framed with cherubs. Visscher probably never visited London. There are various theories as to how the image was compiled.
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Trade contacts with Byblos took place during Sahure's reign. Excavations of the temple of Baalat- Gebal yielded an alabaster bowl inscribed with Sahure's name. The layout of the fourth phase of this temple might even have been influenced by the architecture of Sahure's valley temple, although this remains debated. There is further corroborating evidence for trade with the wider Levant during the Fifth Dynasty, several stone vessels being inscribed with cartouches of pharaohs of this dynasty discovered in Lebanon.
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Sahure's name is found stamped on a thin piece of gold on a Lebanon chair, and 5th dynasty cartouches were found in Lebanon stone vessels. Other scenes in his temple depict Syrian bears. The Palermo stone also mentions expeditions to Sinai as well as to the diorite quarries northwest of Abu Simbel. The oldest known expedition to the Land of Punt was organized by Sahure, which apparently yielded a quantity of myrrh, along with malachite and electrum.
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The first two cartouches were easily explained: Pepi I was the husband of Ankhesenpepi II, and Pepi II was her son. The third, that of Mererenre I, remained unexplained until a damaged second decorative block was found in the pillared courtyard a year later. It bore the titles of Queen Ankhesenpepi II and identified her as the wife of Merenre I. According to Labrousse, Ankhesenpepi II remarried to Merenre I, her nephew, after the death of Pepi I.
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His drawings include cartouches filled with texts containing numerous anecdotes about his life, his associates and his contemporaries. These drawings might have been saved by close relatives of Focus, and they have been preserved until the 21st century because of their artistic quality His contemporaries would probably have characterized Focus' mental state as "mania" ;J. Coste, "Focus et les Petites Maisons", in E. Brugerolles (ed.), Georges Focus. la folie d'un peintre de Louis XIV (Paris, 2018), p. 91-95.
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The front façade is covered by a brilliant and rare humanistic mural of allegorical female figures representing theology and the seven liberal arts (grammar, rhetoric, logic, arithmetic, geometry, astronomy, and music). The cartouches under the window ledges are adorned with Biblical dictums in German, Latin, Greek, and Hebrew. In the southeastern area of the old town is the Hofstatt, the town's only large open square. The Zeughaus (Armory), completed in 1673, is located on the square's northern side.
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Chambers Street vestibule ceiling The rectangular entrance vestibule from Chambers Street contains rusticated yellow marble-clad walls. Just opposite the arched entryways is an arcade with decorative cartouches. Double doors made of mahogany are set within marble doorways at either end of the vestibule. The German sculptor Albert Weinert created two marble sculptural groups, one above each set of doorways; these depict the 1624 purchase of Manhattan Island and the 1898 creation of the City of Greater New York.
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In 1592, Alessandro Strozzi commissioned construction at the site on lands that had originally belonged, among others, to the Pazzi family. This palace is separated by an alley from the Renaissance-style Palazzo Pazzi. The architect Bernardo Buontalenti and his pupil Matteo Nigetti worked on the ground floor (1592-1600), which is characterized by Mannerist touches in the window cartouches and brackets, as well as the side portal. The facade has a heraldic shield of the Strozzi family.
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Later Vickers' mosaic tablets were installed when the station was extended, and five different colors were used for the mosaics. These mosaics were removed in the 2012 renovation of the station, and replicas of the "B" cartouches were installed throughout the station. A new MTA's Arts for Transit project was created in 2012, called Hive, by Leo Villareal. It is located at the newest section of the uptown platform in the mezzanine providing the transfer to the IND station.
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Ryholt, p.201 The only two non-contemporary attestations for Nebiriau II are the mention of his personal name on the Ramesside Turin Canon (position 13.5, his throne name was lost), and a bronze statuette of the god Harpocrates (Cairo 38189). The four sides of the base of the statue were inscribed with the names written into cartouches; these are "Binpu", "Ahmose", "The good god Sewadjenre, deceased" and "The good god Neferkare, deceased" respectively.Donald B. Redford (1986).
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The garage has been extended with an open-sided canopy with a gently pitched roof and has been paved with brick pavers. The main door is located within a wall with a stepped, asymmetric parapet and has delicate concrete moulding around the opening. Circular moulded cartouches adorn the exterior in a number of places. Reports of the interior highlight the use of hand-made flooring tiles, panelled ceilings and walls, gently arched openings and timber-framed glass doors with decorative tracery.
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The newly done carvings were then transported to the master potter's workshop where they were fired in a kiln. Afterwards, the sculptures were coloured and then placed above the doors of the building. Some of these cartouches measured in length and in height, whereas others were round. Ondrusch was commissioned by the municipal authorities of Gleiwitz to do a sculpture of crucified Christ and mourning witnesses, which was erected at the Lime trees Cemetery in Petersdorf (now Szobiszowice; a district of Gleiwitz).
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Palace courtyard The large cobblestoned palace courtyard measuring 1300 square metres (4265 square feet) is enclosed by the Hofburg building and represents "the most beautiful inner courtyard in Innsbruck". Since the Baroque reconstruction, the courtyard has been decorated with sculptural elements such as pilaster, frames, cornices and the cartouches with the Austrian striped shield in the gables of the facades. The variations ensue from the varying old structures in the east, south, north and west. Four portals allow access into the courtyard.
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Limestone ostracon depicting Ramesses IV smiting his enemies. Statue of Ramesses IV, nomen and prenomen cartouches on shoulders, currently housed in the British Museum Ramesses IV came to the throne in difficult circumstances. Ramesses III, his father, was assassinated by conspirators led by Tiye, one of his secondary wives, to establish Pentawer, her own son and Ramesses IV's half-brother, on the throne. Ramesses IV, however, was able to secure himself on the throne, and had the conspirators arrested and executed.
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On the top of the Bell, a 2-heads-no-tails dragon appears, with four legs and five toes on each leg. The wall is divided into panels and bands by raised lines and filled with cartouches containing a dedicatory inscription. Around the lower edge, the eight trigrams in a band separated by cloud, and a band of waves runs around the lower edge. Most of the text is from the Sutra of the Names of the 35 Buddhas and the Vinaya Sutra.
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Apart from the cartouches, pictorial detail is limited to trees, boats on the River Thames and the gallows at Tyburn. The map was engraved on copper plates by John Pine. Each sheet is 27 × 19 inches (77 × 57 cm) and the scale is 1 inch to 200 feet (1:2400), about 26 inches to the mile. Although the survey covered the whole area as a unity, the sheets of the map were produced individually and were not separated from a master drawing.
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The Evans Court Apartment Building is located in Springfield's South End, on the west side of Winthrop Street north of Main Street. It is a four-story brick structure, shaped like an L, with a section projecting to the left at its rear. The front facade has three-story projecting polygonal bays flanking the center entrance, which are topped by decorative cartouches. The main entrance is framed by concrete quoining at the sides, with scrolled brackets supporting an arched pediment.
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Miller (2005) p. 80 His works and designs were so high-quality that he was envied across Italy and was a serious contender to French craftsmen and furniture-designers. His famous designs emerged as being Sardinian/Piedmontese and were famous for their highly intricate designs, exotic materials, flamboyant cartouches and the unique tortoiseshells, which became popular under Rococo zenith.Miller (2005) p. 80 Despite this, Rococo interior designing in Piedmont and Turin remained virtually identical to that of France, its closest neighbour.
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The Commonwealth Club is a unique structure among Richmond buildings. Characterized by its deep red brick, brownstone trim and terra cotta cartouches, the building is a combination of Colonial revival and Richardsonian Romanesque styles. The Colonial revival tradition is reflected to promote a heritage for the future and the Richardsonian style reflected the ability of Richmonders to afford an architectural style fashionable on a national level. It is classified by the Virginia Department of Historic Resources as Italian Renaissance Revival.
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The seventh story is capped by an ornamental terra-cotta stringcourse (reeds bound by bay leaf garlands) with central and end cartouches. The top story has alternating round-arched windows and terra-cotta panels with decoration of classical derivation. The metal cornice, originally denticulated and modillioned, has been removed; remaining are the dentils and an egg-and-dart motif molding. A parapet wall, acting originally as subtle pediments for the central and end pavilions, is now fully exposed and covered with tar.
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The result of the complementary influences were compositions that appear casual, while maintaining strong composition and clarity of detail. Young woman picking figs with three children in a terraced garden, with Nicola Vaccaro Abraham Brueghel is especially known for his still life paintings of southern fruits and flowers, which were typically assembled in front of a landscape. They are frequently enhanced by a precious vase, an antique monument or fragments of Roman sculpture. His cartouches are heavier and more decorative.
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Pinkerton was a celebrated master of the Edinburgh school of cartography which lasted from roughly 1800 to 1830. Pinkerton, along with John Thomson & Co. and John Cary, redefined cartography by exchanging the elaborate cartouches and fantastical beasts used in the 18th century for more accurate detail. Pinkerton's main work was the "Pinkerton's Modern Atlas" published from 1808 through 1815 with an American version by Dobson & Co. in 1818. Pinkerton maps are today greatly valued for their quality, size, colouration, and detail.
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The map is inscribed with a great deal of text. The framed map legends (or cartouches) cover a wide variety of topics: a dedication to his patron and a copyright statement; discussions of rhumb lines, great circles and distances; comments on some of the major rivers; accounts of fictitious geography of the north pole and the southern continent. The full Latin texts and English translations of all the legends are given below. Other minor texts are sprinkled about the map.
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The Stewart's Department Store structure was designed in 1899 by Charles E. Cassell and is a six-story brick and terra cotta steel-framed building detailed in a highly ornate Italian Renaissance Revival style. It features an exuberant ornamental detail includes fluted Ionic and Corinthian columns, lion heads, caryatids, wreaths, garlands, cartouches, and an elaborate bracketed cornice. The Stewart's Department Store Building was listed on the National Register of Historic Places in 1999. The downtown flagship store was closed in 1978.
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Portal showing cartouches of Sheshonq I One facade shows King Sheshonq I, Teklot and Osorkon of the 22nd dynasty, making offerings to the gods and goddesses. Another scene shows Sheshonq grasping a group of captives by the hair and smiting them by his mace. Behind and below him, there are the names of Canaanite towns in several rows. Many of these are lost, but originally there were 156 names and one of the most interesting names which were mentioned is 'The Field of Abram' .
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The eaves of the main block stand out prominently and borrow from Alpine architecture. The facade of the upper floors is richly decorated with stucco and bas-reliefs, which were designed by Julius Seidler and Philipp Widmer. These depict allegories of virtues and occupations, as well as symbols for professions and ranks surrounded by cartouches and connected by festoons. The style of the motifs draws on rural construction forms from the foothills of the Alps and mixes them with aspects of old Munich town houses.
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Toward the end of the reign of Thutmose III and into the reign of his son, an attempt was made to remove Hatshepsut from certain historical and pharaonic records — a damnatio memoriae. This elimination was carried out in the most literal way possible. Her cartouches and images were chiseled off some stone walls, leaving very obvious Hatshepsut-shaped gaps in the artwork. At the Deir el- Bahari temple, Hatshepsut's numerous statues were torn down and in many cases, smashed or disfigured before being buried in a pit.
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Near the retables are doors to the lateral corridors. Over the cornice is the roof-line of the nave supported by rounded wooden beams, painted with phytomorphic friezes and cartouches, the centre large and cut, with marine symbols and inscriptions. The presbytery and altarpiece have polychromatic red and gold tile, in a rectangular alignment defined by six columns, decorated with birds and small fish over high plinths decorated with acanthus and shells. Corinthian capitals extend toward the attic in archivolts, united by radii with a pelican cartouche.
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The field design is characterized by polygonal medallions and stars and stylized floral patterns, arranged in a linear way along their central axis, or centralized. The borders contain rosettes, often alternating with cartouches. As Edmund de Unger pointed out, the design is similar to other products of Mamluk manufacture, like wood- and metal work, and book bindings, illuminated books and floor mosaics. Mamluk carpets were made for the court, and for export, Venice being the most important market place for Mamluk rugs in Europe.
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The main portal, built in today's form at the beginning of the 18th century, is in the western wing. This wing also contains the best-preserved portion of a rhombical pattern of glazed bricks within the castle's façade. The portal is framed by an aedicula. Cartouches to the left and right of the portal tell about the families who resided at Herten Castle, the fire and subsequent reconstruction, along with the motto QUAERATUR VIRTUS – INVENIETUR HONOS (Search for virtue - and honor will be found).
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Ian Shaw, The Oxford History of Ancient Egypt (New York: Oxford University Press Incorporated, 2000), p. 6. For example, a serekh of Senusret I, who was a king during the Twelfth Dynasty, has been found and is now displayed at the Metropolitan Museum of Art in New York City. The serekhs of kings from the 30th Dynasty can also be seen.Stephen Quirke, Who Were The Pharaohs?: A history of their names with a list of cartouches (London: British Museum Publications Limited, 1990), p. 29.
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Marcus Nonnenmacher (1653-1720) was a cabinet-maker for the Prague royal court. He was born in Constance, the son of a German cabinet-maker he became in 1677 citizen of Prague, where he married into the family of the court cabinet-maker Abraham Stolz. His Der architektonische Tischler oder Pragerisches Säulenbuch, printed in Nuremberg, 1710, is a furniture pattern book which included altars, cartouches, chairs, tables, beds, cradles, overmantels, and cupboards, all in a rich acanthus style. A second edition appeared in 1751.
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A blue glass ring of unknown provenance obtained in 1931 depicts the prenomen of Ay and the name of Ankhesenamun enclosed in cartouches. This indicates that Ankhesenamun married Ay shortly before she disappeared from history, although no monuments show her as great royal wife to him. On the walls of Ay's tomb it is Tey (Ay's senior wife), not Ankhesenamun, who appears as his great royal wife. She probably died during or shortly after his reign and no burial has been found for her yet.
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Venice and the Veneto were still famous for making their grand and extravagant Rococo mirrors, amongst the best and most expensive in Europe. Their interiors were still very rich in style, and it took them a long time to change to the new Neoclassical style. However, with their mirrors going out of fashion, and in desperate need of money after 1797, the Venetians eventually gave in to the new style. Despite this, Venetian mirrors still had rich cartouches and were often gilded with gold.
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The interior effects were often achieved with the use of quadratura, or trompe-l'oeil painting combined with sculpture; The eye is drawn upward, giving the illusion that one is looking into the heavens. Clusters of sculpted angels and painted figures crowd the ceiling. Light was also used for dramatic effect; it streamed down from cupolas, and was reflected from an abundance of gilding. Twisted columns were also often used, to give an illusion of upwards motion, and cartouches and other decorative elements occupied every available space.
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British Museum Press, London 1993, page 67–72 & 84. A cylinder seal of unknown provenance shows Peribsen's name inside a cartouche and gives the epithet Merj-netjeru ("beloved of the gods"). This arrangement leads Egyptologists and archaeologists to the conclusion that the seal must have been created later, in memoriam, because the use of royal cartouches began long after Peribsen's reign. Another seal of the same material shows Peribsen's name without a cartouche, but with the royal title Nisut-Bity ("king of Upper- and Lower Egypt") instead.
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The tower was square in plan. Above the belfry window was a broken pediment, containing a small window. The tower was surmounted by a lead covered dome, decorated with cartouches. On top of the dome was a square entablature, comprising four arches with pediments, from which rose a tall spire, with a flag finial at the top, the whole structure being in total high. The interior was long and wide: “much smaller than would be expected from the external appearance”, according to George Godwin.
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This title followed the cartouche as an emendation of the birth name. King Neferirkare Kakai, the third ruler of the Fifth Dynasty, was the first who separated the nswt-bjtj- and the sa-rê crest and turned them into two different, independent names: nomen and prenomen. Now the title sa-rê introduced the new name and it was also placed in a cartouche. During later times, pharaohs often used both names, prenomen and nomen, in cartouches, which sometimes led to confusion amongst Egyptologists in the past.
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Brewers Exchange, also known as Murdock Place, is a historic office building located at Baltimore, Maryland, United States. It is a three-story Renaissance Revival style building designed by Joseph Evans Sperry (1854-1930) and built in 1896. The façade is faced with terra cotta and includes such decorative elements as two-story half-round Ionic pilasters, cartouches, pediments, window surrounds, a garland frieze, and a balustrade at the edges of a flat roof. It was used by the exchange for only a short time.
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640 Broadway demonstrates Delemos & Cordes' competency for Neoclassic design. The Broadway facade shows a two- story base with second-story comer show windows, a limestone entrance leading to the upper floors with oval transom, a denticulated hood and paired, grouped and arched fenestration across the upper stories. Classical ornamentation, including cartouches, triglyphs, keystones, molded architraves and foliated capitals ornament the facade. The Bleecker Street facade shows the same two- story brick base, recessed fenestration, a historic wood sash and end bay at the west, similar to the Broadway facade.
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Hatshepsut is depicted in various ways when receiving her crown. During her public coronation, she is shown as a male with female physique, and her clothing reflects this; Hatshepsut is depicted as a boy being crowned and revealed to her court, wearing a king's headdress and other male regalia. Naville observes that most common Egyptians could not read: thus an image of a woman pharaoh would be shocking, especially accompanied by two cartouches (royal name icons). After being crowned, she is taken to her throne to be seated, with royal dignitaries witnessing the event.
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This track did not last long; it was reportedly disconnected and removed in 1906, only two years after the subway opened. Although its function has never been determined, the trackway is now used as the location of a mechanical room. Atlantic Terra Cotta (1904) The station retains the typical large and small IRT mosaics in the old (prior to platform lengthening) portion. The station has small "S" cartouches with two poppies from 1904, made by Atlantic Terra Cotta, and large mosaic tablets by Heins & LaFarge, also from 1904.
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The cartouches in the garlands typically depict religious or mythological themes. Unlike his master Seghers whose flower garlands are dynamic, van Thielen arranged the flowers and leaves of his flower garlands in a regular manner. An example of a collaboration of van Thielen and Quellinus on a garland painting is A Stone Cartouche with the Virgin and Child, Encircled by a Garland of Flowers (Chrysler Museum of Art) (1651), which is signed by both artists. Van Thielen painted the flower garland while his brother-in-law Erasmus Quellinus painted the cartouche.
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The glyphs on both walls of the cleft feature around 26 paragraphs and the walls have a dark red colour, possibly caused by the usage of red ochre (iron oxide). They depict boats, chickens, dogs, owls, stick men, a dog's bone as well as two cartouches that appear to be the names of kings, one of them Khufu (second king of the Fourth Dynasty, 2637-2614 BC), the other uncertain. These names are given the same personal name and throne name. There is also a carving of the ancient Egyptian god Anubis.
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The first examples of a distinctive Bunzlauer style are ball-shaped jugs and screw-lidded jars, often decorated with applied cartouches filled with intricate floral design. At first the entire pot, including the decorations, was covered in the same brown slip. Later examples used a yellowish lead glaze for the applied decorations which then stood out against the darker surface of the vessel (Adler, 95). A famous example of Bunzlauer pottery from this period is the hexagonal travel bottle with applied pewter mounts, originally belonging to Pastor Merge and dating to 1640/45.
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In Italy this development was tied to the ideals of humanism.Toman (2011), 198 Italian influences on Netherlandish art are first apparent in the late 15th century, when some of the painters began to travel south. This also explains why a number of later Netherlandish artists became associated with, in the words of art historian Rolf Toman, "picturesque gables, bloated, barrel-shaped columns, droll cartouches, 'twisted' figures, and stunningly unrealistic colours – actually employ[ing] the visual language of Mannerism". Wealthy northern merchants could afford to buy paintings from the top tier of artists.
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Partially restored alabaster jar with two handles, bearing the cartouches of Tutankhamun and Ankhesenamun, Eighteenth Dynasty, from Gurob, Fayum, Egypt, the Petrie Museum of Egyptian Archaeology, London Tutankhamun receives flowers from Ankhesenamun She is believed to have been married first to her own father. This was not unusual for Egyptian royal families. She is thought to have been the mother of the princess Ankhesenpaaten Tasherit (possibly by her father or by Smenkhkare), although the parentage is unclear. After her father's death and the short reigns of Smenkhkare and Neferneferuaten, she became the wife of Tutankhamun.
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Van der Perre stresses that: This means that Nefertiti was alive in the second to last year of Akhenaten's reign, and demonstrates that Akhenaten still ruled alone, with his wife by his side. Therefore, the rule of the female Amarna pharaoh known as Neferneferuaten must be placed between the death of Akhenaten and the accession of Tutankhamun. This female pharaoh used the epithet 'Effective for her husband' in one of her cartouches, which means she was either Nefertiti or her daughter Meritaten (who was married to king Smenkhkare).
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She also branched out into journalism, writing for magazines such Punch and for the BBC. Her children's book were in the form of alphabet books in which each letter was a word linked to the book's topic and a paragraph followed that explained the word; e.g., in her An Alphabet of Ancient Egypt, the letter C was for Cartouches and this was followed by a basic explanation of how to read hieroglyphics. Her two main books were published in the 1950s; Nefertiti Lived Here (1954) and City in the Sand (1957).
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His early work shows the influence of the leading Antwerp flower still life painter Daniel Seghers but he used more and stronger and more contrasting colours. His early flower paintings depicted small, bright, graceful bouquets in tall, narrow vases or cartouches and garlands surrounding a religious figure or scene. These garland paintings had been an invention by Jan Brueghel the Elder dating to the beginning of the 17th century and were usually collaborations between a still life and a figure painter.Ursula Härting, Review of Susan Merriam, Seventeenth-Century Flemish Garland Paintings.
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All windows have simple rectangular terra cotta surrounds; those at the fourth, fifth, and seventh stories of the center most portion of the central pavilion have entablatures. Each floor is separated by a continuous stone stringcourse. Above the entrance on the third story, between the windows, are terra cotta panels of foliate design. The fourth floor of the central pavilion has a stone balcony with cartouches (part of the coping is missing), and there are also iron balconies with a harp motif at the fourth- story end and a seventh-story central and end pavilions.
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The Stanley St frontage has paired windows to the ground floor either side of a set of three windows surmounted by the central feature of the elevation; an arch with dentils over small cartouches around a large, elaborate cartouche bearing the words POST & TELEGRAPH OFFICE. The more recently added metal WOOLLOONGABBA POST OFFICE, also appears on the Stanley St elevation. The loggia above has brick spandrels and columns with rounded cement capitals. The openings to the Hubert St elevations have dentils to the ground floor, and single scrolled brackets and sills to the first floor.
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The arms of Lady Anna Bridges (née Rodney) The terrace is made of three pairs of two-storey houses. They are constructed of limestone with moulded stone mullions over the two and three light windows, surmounted by pantile roof. On the front of the building are cartouches with the arms of Bridges and his wife. The Bristol Road in front of the almshouse has been built over the original gardens and the level of the road has been raised so that the doors and footpath are below the level of the carriageway.
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Her tomb in the Valley of the Queens, QV73 is not far from those of other members of Ramesses's family (QV68 – Meritamen, QV71 – Bintanath, QV75 – Henutmire); it is between the tombs of her elder half-sister Bintanath and the 20th dynasty queen Duatentopet (QV74). The tomb may have been carved for a generic princess and after Henuttawy's death was adapted for her. In some areas of the tomb the cartouches are blank, but in the main burial chamber faint traces of her name have been recorded. Demas, Martha, and Neville Agnew, eds. 2012.
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Some stone cartouches bearing statements from Charles Eugene are also found on the lower facade of the main building. Immediately to the west of the White Hall is the six rooms of the Ducal Apartment, which was used for impressing visitors. The first is an antechamber decorated with green and gold-painted stuccowork. Following this is the Marble Hall, the only room of the suite in the Neoclassical style and where Charles Eugene greeted guests, which leads into the Palm Room, so named for the golden stucco palm trees that frame its windows.
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Architect Ely Jacques Kahn commented in 1926 on the emerging style that his brethren were creating with their buildings: > [It] is so characteristic of New York that it would be more logical, by far, > to call it a New York Style. [...] Decoration becomes a far more precious > thing than a collection of dead leaves, swags, bull's heads and cartouches. > It becomes a means of enriching the surface with a play of light and shade, > voices and solids. [Today's ornamental forms] respond to the bulk and > simplicity of the skyscraper itself.
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A transcript of some of the characters of this language has been preserved in what had previously been erroneously identified as the "Anthon Transcript" but is now known as the "Caractors document." Fifteen examples of distinct scripts have been identified in pre-Columbian Mesoamerica, many from a single inscription. While Maya contains cartouches and is a form of hieroglyphic script like Egyptian, no further resemblance to Hebrew or Egyptian hieroglyphs has been identified. Additionally, professional linguists and Egyptologists do not consider the Caractors document to contain any legitimate ancient writing.
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High-gloss painted limestone statue, inscribed with hieroglyphs and cartouches. (atypical scribe statue, reflecting his high standing) Ramose was an ancient Egyptian scribe and artisan who lived in Deir el-Medina on the west bank of the Nile, opposite Thebes, during the reigns of Ramesses II.Rice (1999), p.169 He held the position of Scribe of the Tomb, the highest administrative position for a scribe in Deir el-Medina, from around years 5 to 38 of Ramesses II's reign. He was buried in a tomb in the village necropolis.
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The Stela of Tetisheri is a limestone donation stele erected by Pharaoh Ahmose I, founder of the Eighteenth Dynasty of Egypt. It sits in the construction of his mortuary complex that included a cenotaph to his grandmother Queen Tetisheri, Senakhtenre's Great Royal Wife and grandmother of both Ahmose and his Principal Wife, Ahmose-Nefertari. The stele was excavated in Ahmose's cult center at Abydos, found in 1902, in two pieces. A twin scene in the upper lunette shows king Ahmose presenting offering tables to seated Tetisheri (whose name is within some of the cartouches).
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Jean-Jacques Barthélemy, working with Anne Claude de Caylus, identified that non-hieroglyphic cursive Egyptian scripts seemed to consist in alphabetical letters graphically derived from hieroglyphs, in Recueil d'antiquités égyptiennes, 1752. This insight was published in English in The Divine Legation of Moses by William Warburton in 1765. Barthélémy was also the first to suggest, in volume V of the Recueil of Count Caylus, published in 1762, that the signs in Egyptian cartouches probably represented royal names. This discovery by Barthélémy was acknowledged by Champollion in his Précis.
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The front lobby is also lit from the rear by a six-over-six double-hung sash set with leaded and stained glass, opaque on the bottom but with a cartouche and swag on top. The stair climbs to a Palladian window, also with stained glass. It is decorated with swags and ribbons, corner cartouches and panels topped with eagles in the center and vases and foliation topped with a lit torch on the outer panels. A cartouche-enclosed oval at the top has the date "1915" carved within.
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She wears a pink diaphanous gown and elaborate jewellery, and holds a flail in her left hand, a symbol of royalty; in her right hand, she holds a lotus flower. The style and decoration of her chair is informed by illustrations of Egyptian tomb paintings. Her feet rest on a footstool decorated with bound captives -- another symbol of royalty -- and also referring to the enslaved Israelites. Hieroglyphic cartouches identify her as the daughter of Ramesses II. It has been claimed that one of Alma-Tadema's daughters sat as the model for Pharaoh's daughter.
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Furthermore, several alabaster and travertine fragments of seated statues, which were found by George Reisner during his excavations at Giza, were once inscribed with Khufu's full royal titulary. Today, the complete or partially preserved cartouches with the name Khufu or Khnum-Khuf remain. One of the fragments, that of a small seated statue, shows the legs and feet of a sitting king from the knuckles downward. To the right of them the name ...fu in a cartouche is visible, and it can easily be reconstructed as the cartouche name Khufu.
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His maritime maps encompassed not only Europe, Great Britain and Ireland but also the North Sea and the Baltic Sea. The Zee Atlas covered the English Channel, the Mediterranean and the Arctic Ocean as well as the Indian and Pacific Oceans. He also published regional maps covering the coastal areas of all the continents, facilitating navigation by including details of sandbars, sea depths and the islands near the coast. A particular feature of the Goos maps was that they were embellished with "large descriptive cartouches" supplemented with sketches of ships, compass cards, and wind roses.
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Persian inscriptions, dated 1602 are carved, in ornamental cartouches on its sides, in praise of Jahangir, whom they state as Shah and Sultan. This amounted to defiance of Akbar, who was at that time alive and on the throne. When the throne was finally brought to Agra, Jahangir had two inscriptions carved on top of the two western pedestals, stating that he had been only the heir to the throne, and that he had assumed the title of Nuruddin Muhammad Jahangir Badshah (Badshah Jahangir), only after his righteous accession.
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Roman Emperor Trajan making offerings to Egyptian Gods, on the Roman Mammisi at the Dendera Temple complex, Egypt."Trajan was, in fact, quite active in Egypt. Separate scenes of Domitian and Trajan making offerings to the gods appear on reliefs on the propylon of the Temple of Hathor at Dendera. There are cartouches of Domitian and Trajan on the column shafts of the Temple of Knum at Esna, and on the exterior a frieze text mentions Domitian, Trajan, and Hadrian" Two generals based in Aegyptus, Probus and Domitius Domitianus, led successful revolts and made themselves emperors.
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Like his probable predecessor Nimlot, he proclaimed himself king, adopting the full royal titulary although he was no more than a governor of Hermopolis and a vassal of the Kushite 25th Dynasty. His cartouches appear carved on the shoulders of a damaged block statue depicting the priest Tjanhesret, found in Luxor in 1909 and now in the Cairo Museum (CG 42212), and on a bronze naos-shaped amulet of Amun-Ra of unknown provenance – possibly from Thebes – and now in the British Museum (EA11015).Kitchen, op. cit., § 109; 331The bronze naos-shaped amulet EA11015 at the British Museum.
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Pharaoh power-sharing unearthed in Egypt Daily News Egypt. February 6, 2014Proof found of Amenhotep III-Akhenaten co-regency thehistoryblog.com The tomb is being studied by a multi-national team led by the Instituto de Estudios del Antiguo Egipto de Madrid and Dr Martin Valentin. The evidence consists of the cartouches of Amenhotep III and Akhenaten being carved side by side, but this may only suggest that Amenhotep III had chosen his only surviving son Akhenaten to succeed him since there are no objects or inscriptions known to name and give the same regnal dates for both kings.
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The brickwork is primarily built in a French fashion; the gray bricks are matched by details of similarly-colored limestone from Bedford, Indiana. Patrons enter the library by climbing a stairway with a stone balustrade to a central entrance that sits within a stone archway; small Palladian windows with stone pediments are placed on each side of the entrance. Among the details visible on the building's exterior are pilasters on all of its corners, string courses that parallel the lintels, multiple cartouches, and an elaborate cornice. Inside, the library features six rooms: three large book rooms, a vestibule, a lobby, and an office.
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The pharaoh "disbanded the priesthoods of all the other gods... and diverted the income from these [other] cults to support the Aten." To emphasize his complete allegiance to the Aten, the king officially changed his name from Amenhotep IV to Akhenaten (, meaning "Effective for the Aten"). Meanwhile, the Aten was becoming a king itself. Artists started to depict him with the trappings of pharaos, placing his name in cartouchesa rare, but not unique occurrence, as the names of Ra-Horakhty and Amun-Ra had also been found enclosed in cartouches and wearing a uraeus, a symbol of kingship.
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In some cases they are grouped together by family, which corresponds approximately to the dynasties of Manetho's book. The list includes the names of ephemeral rulers or those ruling small territories that may be unmentioned in other sources. The list also is believed to contain kings from the 15th Dynasty, the Hyksos who ruled Lower Egypt and the River Nile delta. The Hyksos rulers do not have cartouches (enclosing borders which indicate the name of a king), and a hieroglyphic sign is added to indicate that they were foreigners, although typically on King Lists foreign rulers are not listed.
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After this period they were buried on their backs (dorsal position), and from the Fifth Dynasty the bodies were always fully extended. Naqada II decorated jar, next to the mummy Archaeological interest in Gebelien started in the early 18th century and was included in Benoît de Maillet's Description de l'Egypte. The site includes the remains from a temple to the deity Hathor with a number of cartouches on mud bricks and a royal stela from the 2nd Dynasty and 3rd Dynasty. Later period finds include 400 Demotic and Greek ostraca from a 2nd–1st century BC mercenary garrison.
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The title Sa-Rê was used to introduce this new name of the king and thus became a new "Great name". After the Middle Kingdom pharaohs often used both their prenomen and nomen in separate cartouches, which sometimes led to confusion amongst Egyptologists. The reason for the confusion derives from differences between the royal names presented by the ancient Historian Manetho, who wrote an history of Egypt in the 3rd century BC, and the older Egyptian kinglists, such as the Abydos King List, the Saqqara Tablet and the Turin Canon, which date to the Ramesside period (c. 1292–1189 BC).
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His works and ideas proved highly popular in Rome, where they were used as prototypes to furnish the interiors of the Vatican, and later spread throughout the rest of the continent. Italian Neoclassical furniture was loosely based on that of Louis XVI styles but was made unique by the usage of exaggeratedly shaped backs and necks which were recessed. Armoires, or armadi made by the Venetians were more geometrically shaped than the Rococo ones, but were usually gilded in gold and silver, and had a few intricate details, such as cartouches. The French encoignure cabinets also proved highly popular in Italian furniture.
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The heraldic cartouches on either side have been re-affixed upside-down Portrait of Charles Cutcliffe (d.1670), Swimbridge Church, probably by James Gandy (1619–89), a pupil of Vandyke Dennington (modern spelling) was a seat of the Chichester family, a branch of that family seated originally at Raleigh, Pilton, with a later major branch at Hall, Bishop's Tawton. (Not to be confused with nearby Dinnaton Barton, Swimbridge, 3/4 mile to S-E, a 19th-century model farm built in 1853 by the 7th Duke of Bedford). The notable mural monument to Charles Cutcliffe (d.
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The start of the king list, showing Seti and his son - Ramesses II - on the way to making an offering to Ptah-Seker-Osiris, on behalf of their 72 ancestors - the contents of the king list. Ramesses is depicted holding censers. The Abydos King List, also known as the Abydos Table, is a list of the names of seventy-six kings of ancient Egypt, found on a wall of the Temple of Seti I at Abydos, Egypt. It consists of three rows of thirty-eight cartouches (borders enclosing the name of a king) in each row.
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The later form of the cartouches is found on the door jambs indicating that the tomb was inscribed after year 9 of Akhenaten. The shorter version of the Great Hymn to the Aten appears in the entrance way. The hymn is followed by the name and titles of Any. He is said to be : The intimate of the King, whom the lord loves, the favorite whom the Lord of the Two Lands created by his bounty, who has reached the blessed reward by the favor of the King, the acting scribe of the King, beloved by him.
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Seghers was exclusively a flower painter, mainly of cartouches and flower garlands as well as pure flower paintings. He was very prolific and 239 works are currently attributed to the artist.Daniel Seghers , Flowers in a glass vase with a red admiral butterfly, Christie's London auction of 4 July 2019, lot 4 It is not easy to establish a chronology for Seghers' paintings since he only dated his works in the period 1635–1651. Possibly there was a stylistic development in his flower garlands from the initial almost uniform garlands towards garlands composed of three or four groups of flowers.
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The two-story 37-room Spanish Colonial Revival building, approximately , is constructed of brick and concrete masonry finished with stucco. The structure is trapezoidal in plan, although the impressive front elevation is symmetrically designed with twin towers composed of three-tiered setbacks flanking the main entrance. The main entrance is accessed through an enclosed sun porch, a later addition set between two pavilions that form the visual bases of the towers above them. The windows of the pavilions have decorative cartouches above them, as well as a series of rectangular setbacks that evoke a vague Art Deco appearance.
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The open books and the cartouches, with Greek and Hebrew letters, correspond to his activity as translator of the Bible. On the writing desk is the date (MCCCCLXXX), as well as a sealed letter, glasses, two inkwells (with drops of ink near them), scissors and a candle holder. The desk is covered by an oriental carpet, a luxurious object often depicted by Ghirlandaio, and perhaps also inspired by Netherlandish painters. The objects on the shelves include a cardinal hat, two pharmacist vases, a cylindrical case, a necklace, a purse, some fruit, two transparent glass bottles and an hourglass.
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The architecture and ceramics from this period demonstrate connections with the northern Yucatán Peninsula and the Gulf Coast of Mexico.Sharer & Traxler 2006, p. 521. Seventeen stelae carved between AD 849 and 889 show a mix of Maya and foreign styles, including a lord wearing the beaked mask of Ehecatl, the central Mexican wind god, with a Mexican-style speech scroll emerging from the mouth, carvings of foreign-style foot slippers, and squared cartouches. Some of these stelae have a stylistic affinity with the painted murals at Cacaxtla, a site in the central Mexican state of Tlaxcala.
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In these maps Moll's skill as an engraver is particularly clear. These were bound separately and then later sold in the form of atlases in a joint venture between a number of other publishers. The series included two of the most famous Moll maps: A new and exact map of the dominions of the King of Great Britain and To The Right Honorable John Lord Sommers...This Map of North America According To Ye Newest and Most Exact Observations. These were distinctive for their elaborate cartouches and images, and are known respectively as the Beaver Map and the Codfish Map.
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Reliefs were made depicting Cleopatra and her son Caesarion presenting offerings to the deities Hathor and Ihy, mirroring images of offerings to Isis and Horus. At the Hathor-Isis temple of Deir el-Medina, Cleopatra erected a large granite stela with dual inscriptions in Ancient Greek and Demotic Egyptian and images depicting her worshiping Montu and her son Caesarion worshiping Amun-Ra. The cult center of Montu at Hermonthis was refashioned with images of Caesarion's divine birth by Julius Caesar, depicted as Amun-Ra. It included an elaborate facade and entrance kiosk with large columns bearing the cartouches of Cleopatra and Caesarion.
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The Winter Palace has a twelve-bay flat Baroque façade with three portals, each given double corbels that support a balcony and decorated balustrade. In place of standard columns or pillars, Fischer von Erlach designed bas-reliefs depicting military scenes from ancient mythology—Hercules fighting the giant Antaeus on the left, and Aeneas saving his father Anchises from burning Troy on the right. These images from the classical world are meant to invoke Prince Eugene's glorious military accomplishments. Above each portal are tall windows of the piano nobile, made distinct from the other windows by their reversed segmented pediments with insert cartouches.
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Egyptian hieroglyphs with cartouches for the name "Ramesses II", from the Luxor Temple, New Kingdom Ancient Egyptian literature was written in the Egyptian language from ancient Egypt's pharaonic period until the end of Roman domination. It represents the oldest corpus of Egyptian literature. Along with Sumerian literature, it is considered the world's earliest literature.. Writing in ancient Egypt—both hieroglyphic and hieratic—first appeared in the late 4th millennium BC during the late phase of predynastic Egypt. By the Old Kingdom (26th century BC to 22nd century BC), literary works included funerary texts, epistles and letters, hymns and poems, and commemorative autobiographical texts recounting the careers of prominent administrative officials.
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It has been suggested that the "Greek culture", which Diodorus claimed was the origin of Ergamenes' strong-will, should be understood as the Greco-Egyptian culture of the Ptolemaic Kingdom (305 BC-30 BC), when Egypt was ruled by a Greek dynasty.Török (2008), p. 511 Arakamani cartouches on a stone fragment from East Meroë If the identification of Arakamani with Ergamenes I is correct, Arakamani provides an important chronological marker for Nubian history as Diodorus writes that he was a contemporary of Ptolemy II Philadelphus (reign 285-246 BCE) in Ptolemaic Egypt. Most Nubian kings are otherwise very difficult to date precisely as well as to order chronologically.
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The memorial temple of Ramesses III at Medinet Habu contains a minor list of pharaohs of the New Kingdom of Egypt. The inscriptions closely resemble the Ramesseum king list, which is a similar scene of Ramesses II, which was used as a template for the scenes here. The scene shows Ramesses III participating in the ceremonies of the Festival of Min where statues of ancestral kings are carried in an elaborate procession to make offerings to Min. It contains 16 cartouches with the names of nine pharaohs divided into two parts. The sparse outline of the scene was published by Vivant Denon in 1802,Dominique Vivant Denon (1802).
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Giaquinto's fresco above the staircase Built by Sabatini in 1789 when Charles IV wanted it moved to the opposite side of where Sabatini placed it in 1760, it is composed of a single piece of San Agustin marble. Two lions grace the landing, one by Felipe de Castro and another by Robert Michel. The frescoes on the ceiling is by Corrado Giaquinto and depicts Religion Protected by Spain. On the ground floor is a statue of Charles III in Roman toga, with a similar statue on the first floor depicting Charles IV. The four cartouches at the corners depict the elements of water, earth, air and fire.
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In 1792, in the aftermath of the French Revolution, the Austrians, then in the United Provinces, laid siege to Lille. The "Column of the Goddess", erected in 1842 in the "Grand-Place" (officially named ), is a tribute to the city's resistance, led by Mayor François André-Bonte. Although Austrian artillery destroyed many houses and the main church of the city, the city did not surrender, and the Austrian Army left after eight days. cartouches) are Austrian cannonballs lodged in the façade. The city continued to grow and, by 1800, had some 53,000 residents, leading to Lille becoming the seat of the Nord départment in 1804.
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The third and fourth floors each have two slightly projecting polygonal bay windows, with the bays separated and flanked by pilasters topped with limestone cartouches. The fifth floor has round-arch windows with terra cotta surrounds and swag panels, and is topped by band of dentil moulding and a pressed metal cornice. The building was constructed in 1900 to a design by Fuller & Delano, a prominent local firm. It was built for William Dexter, a prominent local real estate developer who owned the adjacent buildings; according to building permits it was intended as an annex to those, but it is substantially more architecturally sophisticated.
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This tradition was not carried out in the tomb of Meryra, or the other tombs of Amarna, which instead focused almost exclusively on Akhenaten and worship of the Aten. Davies acknowledges the tombs of Amarna were often difficult to identify as little emphasis was placed on the owner. This contrasts sharply with the dominant tradition of New Kingdom tombs in which cartouches and images of the ruling king were marginal aspects to the tomb, sometimes not even identified. The reliefs in the Tomb of Meryra are decidedly centered upon praising Akhenaten, and Meryra himself only appears marginally, sometimes indistinguishable from other minor figures carved in the relief.
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Egypt was able to obtain wealth and stability under the rule of Ramesses, for more than half a century. His immediate successors continued the military campaigns, although an increasingly troubled court—which at one point put a usurper (Amenmesse) on the throne—made it increasingly difficult for a pharaoh to effectively retain control of the territories. Ramesses II built extensively throughout Egypt and Nubia, and his cartouches are prominently displayed, even in buildings that he did not construct. There are accounts of his honor hewn on stone, statues, and the remains of palaces and temples—most notably the Ramesseum in western Thebes and the rock temples of Abu Simbel.
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This might be well understood as sometimes even the names of the Aten, which are written in cartouches like king's names, consist of a statement describing the Aten in terms of other gods. The idea of traditional gods was not highly tolerated by the majority of ordinary people however, teams of workmen were sent around the temples of Egypt where they called out the names and images of these gods wherever they occurred. A number of hymns to the Aten were composed during Akhenaten's reign in order to praise the Aten. These hymns provide an overview of what James Allen has described as the 'natural philosophy' of Akhenaten's religion.
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St Mary's Church and graveyard at Grandtully St Mary's Chapel, Grandtully - Painted Ceiling In Nether Pitcairn, 3.2 km south-west of Grandtully, there is a church built by Alexander Stewart of Grandtully in, or shortly before, 1533. It is a low and outwardly unassuming white washed building that contains a wooden tunnel vault ceiling with tempera paintings from the early 17th century. The paintings show scenes and persons from the bible intermixed with the coats of arms of kings and noblemen, and in addition an abundance of birds, fruits and angels, all depicted in a renaissance style with cartouches and imitated metal work. The paintings were restored in about 1950.
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The personified, somewhat abstract god of eternity Ḥeḥ possessed no known cult centre or sanctuary; rather, his veneration revolved around symbolism and personal belief. The god's image and its iconographic elements reflected the wish for millions of years of life or rule; as such, the figure of Ḥeḥ finds frequent representation in amulets, prestige items and royal iconography from the late Old Kingdom period onwards. Heh became associated with the King and his quest for longevity. For instance, he appears on the tomb of King Tutankhamen, in two cartouches, where he is crowned with a winged scarab beetle, symbolizing existence and a sun disk.
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The tomb contains typical elements such as a copy of the Great Hymn to the Aten and scenes of the royal family worshipping the Aten. Akhenaten and Nefertiti are for instance shown offering votive items – cartouches of the Aten flanked by small statue(s) – to the Aten. Meritaten, Meketaten and Ankhesenpaaten are shown behind their parents shaking sistra.The rock tombs of el-Amarna, Parts III and IV: Part 3 The tombs of Huya and Ahmes & Part 4 The tombs of Penthu, Mahu, and Others Egypt Exploration Society (2004), The tomb is described in Chapter 4 of Part IV Martin mentions a tomb for Ipy in Memphis.
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The burial chamber of Ay's tomb in the Valley of the Kings It appears that one of Horemheb's undertakings as Pharaoh was to eliminate all references to the monotheistic experiment, a process that included expunging the name of his immediate predecessors, especially Ay, from the historical record. Horemheb desecrated Ay's burial and had most of Ay's royal cartouches in his WV23 tomb erased while his sarcophagus was smashed into numerous fragments.Bertha Porter, Topographical Bibliography of Ancient Egyptian Hieroglyph Texts, Vol 1, Part 2, Oxford Clarendon Press, (1960), Tomb 23, pp. 550–551 However, the intact sarcophagus lid was discovered in 1972 by Otto Schaden.
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The architects have used an unusual method of "hiding" the beam by curving the ceiling down from the rear stalls wall to the soffit of the beam, then curving up again to the edge of the circle. The plan shape of the dress circle is typical of the work of the architects, Kaberry and Chard. In the early 1920s, their circle balustrade designs (with their straight central portions curved around each side to side boxes) were in plaster with swags of classical ornament and cartouches. From about 1927 they simplified the design to unadorned flat panelling (as at the Magnet Theatre, Lakemba demolished; Montreal, Tumut).
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The richly carved panels in varying relief with bold certal cartouches and military trophies follow surviving drawings by Pineau. His contract expired in 1726, though he lingered to the beginning of the Russian New Year the following March. On his return to Paris, Pineau found the Régence manner had been transformed in the decade of his absence by the carver-designer François- Antoine Vassé and the designer Gilles-Marie Oppenord (see Rococo). Surprised to find the field of architecture currently well filled by highly competent Paris-trained practitioners, Jacques-François Blondel reported, he depended upon his own specialty of designs for carving, and enjoyed a vogue extraordinaire.
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She was the first “hereditary” God's Wife or Divine Adoratrice of Amun to wield political power in ancient Thebes and its surrounding region. She was the first to take on complete royal titulary with names in two cartouches (her prenomen Khenemetibamun means 'she who is one with the heart of Amun'), and although her successors followed her example, she remained the only one who also bore the royal titles “Lord of the Two Lands” and “Lord of Appearances”, also, the only one whose throne name refers to Amun, not to his wife Mut.László Török: The Kingdom of Kush: Handbook of the Napatan-Meroitic Civilization. , p.
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The circular staircase walls were adorned with ascending Corinthian columns, the northwest parlor walls were illustrated with palm trees and a rattan motif upon the ceiling, the northeast parlor fireplace is flanked with niches painted as false balconies overlooking alpine scenery, and another second story bedroom was ornamented with an image of an elevated castle that juts over a jagged peninsula. Window and door framing were topped with cartouches. One parlor was found to have an image of Samuel de Champlain discovering Lake Champlain. The three-dimensional Trompe-l'oeil imagery within the top-level cupola lantern simulates columns and capitals studded with green jewels that project the illusion of sunlight emanating through the windows.
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Birth and throne cartouches of Pharaoh Seti I, from KV17 at the Valley of the Kings, Egypt. Neues Museum, Berlin In Egyptian hieroglyphs, a cartouche is an oval with a line at one end at right angles to the oval, indicating that the text enclosed is a royal name. The first examples of the cartouche are associated with pharaohs at the end of the Third Dynasty, but the feature did not come into common use until the beginning of the Fourth Dynasty under Pharaoh Sneferu. While the cartouche is usually vertical with a horizontal line, if it makes the name fit better it can be horizontal, with a vertical line at the end (in the direction of reading).
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Egyptian hieroglyphs with cartouches for the name "Ramesses II", from the Luxor Temple, New Kingdom Ancient Egyptian literature, along with Sumerian literature, are considered the world's oldest literatures.Black et al. The Literature of Ancient Sumer, xix The primary genres of the literature of ancient Egypt—didactic texts, hymns and prayers, and tales—were written almost entirely in verse; By the Old Kingdom (26th century BC to 22nd century BC), literary works included funerary texts, epistles and letters, hymns and poems, and commemorative autobiographical texts recounting the careers of prominent administrative officials. It was not until the early Middle Kingdom (21st century BC to 17th century BC) that a narrative Egyptian literature was created.
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The latter contained a lid and several fragments of canopic jars, 11 or 12 canopic clay figures of gods and goddesses including Osiris, Imsety and Neith, a few inlay pieces of lapis lazuli, obsidian and slate (all originally from a sarcophagus), and fragmentary faience shawabtis. Excavations of the pyramid yielded numerous objects including fragments of jars and alabaster vessels, one of which was inscribed with Tantamani's cartouches, several bowls, a beryl scarab attached to a gold wire loop, pieces of gold foil, a faience pendant with Atlanersa's cartouche, Menat amulets and beads, pieces of paste, and further fragments of shawabtis. In total, 15 complete shawabtis were recovered of over 235 found in the pyramid, all c. in size.
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Ramesses II with Amun and Mut, Museo Egizio, Turin, Italy Colossal Statue of Ramses II in the first peristyle court at Luxor Ramesses built extensively throughout Egypt and Nubia, and his cartouches are prominently displayed even in buildings that he did not construct. There are accounts of his honor hewn on stone, statues, and the remains of palaces and temples—most notably the Ramesseum in western Thebes and the rock temples of Abu Simbel. He covered the land from the Delta to Nubia with buildings in a way no monarch before him had.Wolfhart Westendorf, Das alte Ägypten, 1969 He also founded a new capital city in the Delta during his reign, called Pi-Ramesses.
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Some potentially unfamiliar phrases and concepts used in the movie include lettres de cachet, gallows birds (gibier de potence), lèse majesté (Contempt of the Sovereign), and the Mayor of the Palace. The bird also mentions having seen Les cloches de Corneville, having been to the Place d'Italie, and having attended the Neuilly festival (Neuilly-sur-Seine is the birthplace of both Prévert and Grimault). It also mentions dernières cartouches (Last Cartridges) which alludes to an episode in the Franco-Prussian War involving the Blue Division of the French marines, memorialized in a painting by that name by Alphonse-Marie-Adolphe de Neuville. Others see connection with Ubu Roi (King Ubu) of Alfred Jarry, Giovanni Battista Piranesi, and Magritte.
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One of his prime vehicles was the single print marketed independently of an album. He published many albums, one is: Œùvre de fleurs, ornements, cartouches, figures et sujets chinois (1776). The Art Gallery of Greater Victoria (British Columbia), the Cleveland Museum of Art, the Courtauld Institute of Art (London), the Honolulu Museum of Art, the Indiana University Art Museum (Bloomington, Indiana), the Metropolitan Museum of Art (New York City), Museum der bildenden Künste (Leipzig, Germany), the Museum of Fine Arts, Boston, the National Gallery of Art (Washington D.C.), Palazzo Pitti (Florence), Gulbenkian Museum (Lisbon, Portugal) and the Philadelphia Museum of Art are among the public collections holding work by Jean-Baptiste Pillement.
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Deciding he would need a reliable assistant if a discovery was made, he visited Callender, who agreed to join Carter's dig at short notice if required. On 4 November Carter's team discovered a flight of steps which, once dug out, revealed a doorway sealed with ancient cartouches, suggesting an intact tomb. Carter ordered the staircase refilled, to await the arrival of his patron Lord Carnarvon, then in England. Meanwhile, Carter contacted Callender, who joined the excavation on 10 November. On 24 November 1922 Carnarvon, accompanied by his daughter Lady Evelyn Herbert, had arrived and were present when Carter and Callender supervised the uncovering of the stairway to the tomb, with a seal containing Tutankhamun's cartouche found on the doorway.
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The Crown of Eric XIV, as it appeared before a later 20th century restoration to its original 16th century appearance. The Crown of Eric XIV, made in Stockholm in 1561 by Flemish goldsmith Cornelius ver Welden, is typical of the Renaissance style of jewelry of his time. Originally his crown bore four pairs of the letter 'E' and 'R', the initials of the Latin form of his name, "Ericus Rex", in green enamel, each pair being on either side of the central stones on the front, sides and back of the circlet. When he was deposed by his brother, John III, John had each of these letters covered with identical cartouches each set with two pearls.
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The exterior and interior of the ranges are topped by an alternating pattern of decorative gables. The gate house has a Perpendicular portal and canted Gothic oriel windows, with fan vaulting in the entrance. The room above has a particularly fine plaster ceiling and chimney piece of stucco caryatids and panelling interlaced with studded bands sprouting into large flowers. The cartouches over staircases one, two, three, five and six and the chapel, bar and provost's lodgings entrances bear the arms of important figures in the college's history: (1) Anthony Blencowe (Provost 1574–1618) who left money that paid for building the west side of First Quad. (2) Richard Dudley (Fellow 1495–1536) who gave property for fellowships.
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Ryan felt, at that time, that advocating for KV60A as the mummy of Hatshepsut would be "foolishly premature", instead suggesting she could be any of a number of royal women or nurses from the period. The identification of this mummy as Hatshepsut hinges on the contents of a wooden box inscribed with her cartouches discovered inside the cache DB320. When it was CT-scanned in 2007, it was found to contain a mummified liver and intestine, as well as a molar tooth that lacks one root. The tooth was found to match the size, shape, and density of the remaining molars, as well as lacking the same root that is still present in the jaw.
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Montgomery Schuyler, in a column titled "Architectural Aberrations" in Architectural Record, stated that the house was “an appropriate residence for the late P. T. Barnum.” He felt the tower was “meaningless and fatuous”; the rounded rustication on the first floor suggested the prototype of “a log house.” At the time, the French style had gone out of fashion and the ornamentation was no longer in vogue. Schuyler wrote that “a certified check to the amount of all this stone carving hung on the outer wall would serve every artistic purpose attained by the carving itself.” The editor of The Architect called the place “The House of a Thousand Cartouches” and despised the “dolorous and ponderous granite” chosen.
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It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface.
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The Tapestry collection (spanning from the 15th to 17th centuries) is particularly important and unique in the Caribbean, and includes pieces produced by the Flemish Van Den Hecke family from cartouches created by Charles Le Brun. The Alcázar is the most visited museum in Santo Domingo. The palace is an impressive construction of coralline blocks that once housed some fifty rooms and a number of gardens and courtyards, although what remains today is about half the size it once was. It was built under Diego Colón, the son of Christopher Columbus; when he became the 4th Governor of the Indies in 1509, he ordered the construction of a family home and governor’s mansion between 1510 and 1512.
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Large numbers of ornamental details grace the building's exterior. Each of the sixteen large window bays of the second and third stories features five pieces of glass: a single large pane that occupies the vast majority of the bay's area, and four smaller panes (two above the large pane and two below) that divide the small remaining area. Cast ironwork is also common on the facade: a small balustrade of iron has been placed at the bottom of each window, and the space between the second and third story windows is composed of large iron spandrels decorated with cartouches. Similar details are reproduced in the stone of the building's summit; it is crowned by the tips of the piers, which rise slightly above the main roofline.
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The Bubastite Portal at Karnak, showing the cartouches of Shoshenq I. The Bubastite Portal, a relief discovered at Karnak, in Upper Egypt, and similar reliefs on the walls of a small temple of Amun at el-Hibeh, shows Pharaoh Shoshenq I holding in his hand a bound group of prisoners. The names of captured towns are located primarily in the territory of the kingdom of Israel (including Megiddo), with a few listed in the Negeb, and perhaps Philistia. Some of these include a few of the towns that Rehoboam had fortified according to Chronicles. The portal is generally believed to record a historical campaign of Sheshonq I in Judah, but it makes no mention of Jerusalem being sacked, nor of Rehoboam or Jeroboam.
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Gilded statue of the Holy Trinity atop the column The column is dominated by gilded copper sculptures of the Holy Trinity accompanied by the Archangel Gabriel on the top and the Assumption of the Virgin beneath it. The base of the column, in three levels, is surrounded by 18 more stone sculptures of saints and 14 reliefs in elaborate cartouches. At the uppermost stage are saints connected with Jesus’ earth life – his mother’s parents St. Anne and St. Joachim, his foster-father St. Joseph, and St. John the Baptist, who was preparing his coming – who are accompanied by St. Lawrence and St. Jerome, saints to whom the chapel in the Olomouc town hall was dedicated. Three reliefs represent the Three theological virtues Faith, Hope, and Love.
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The Swedish monarchs of the Houses of Palatinate-Zweibrücken, of Hesse and of Holstein-Gottorp preferred to use Queen Christina's crown rather than that of Eric XIV; however, the House of Bernadotte chose to use Eric's crown. However, they replaced the original monde and cross at the top of the crown with a new large monde enameled blue with gold star and set with diamond and with a cross of ten diamonds. They also replaced the original pearls on the top of the eight large ornaments on the circlet with diamonds and replacing the pearl cartouches with eight diamond rosettes, and moved the circlet 45 degrees. This is the form the crown has in the portrait of Oscar II painted by Oscar Björck.
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In 1634 Blake erected the surviving mural monument in St Peter's Church, Barnstaple, to his nine-year-old son Nicholas Blake (d.1634) and other children, but "as much in allusion to his own position and sufferings", described by Chanter (1882) as "perhaps the most noteworthy and interesting monument in the church", "not only a work of art, but of allegorical literature and imagination, telling its tale as fully in its medallions, cartouches and sculptured mottoes as if written - an actual instance of 'sermons in stone'".Chanter, J.R., Memorials Descriptive and Historical, of the Church of St Peter, Barnstaple, with its other ecclesiastical antiquities, and an account of the conventual church of St Mary Magdalene, recently discovered. Barnstaple, 1882. Includes appendix “Monumental Heraldry” by Rev.
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Using the fact that it was known that names of rulers appeared in cartouches, he focused on reading names of rulers as Young had initially tried. Champollion managed to isolate a number of sound values for signs, by comparing the Greek and Hieroglyphic versions of the names of Ptolemy and Cleopatra - correcting Young's readings in several instances. In 1822 Champollion received transcriptions of the text on the recently discovered Philae obelisk, which enabled him to double check his readings of the names Ptolemy and Cleopatra from the Rosetta stone. The name "Cleopatra" had already been identified on the Philae obelisk by William John Bankes, who scribbled the identification in the margin of the plate though without any actual reading of the individual glyphs.
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Nearby, a broken mortar, brought from a local farmyard, has been set on a stem and base as if to represent a font. The enclosure around the font has turned balusters and moulded handrail of the 18th century and may have been the former communion rails. In the east window of the south chapel are set fifteen medallions of German or Flemish glass of the 16th and 17th centuries; five are circular, the others oval; they mostly depict scenes from the Old and New Testaments and include a Nativity, and the placing of our Lord in the sepulchre. There are also four similar oval cartouches in the west window of the tower-porch, all collected and placed here by Canon Borrer in 1845.
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A major redesign by John McCurdy was completed in 1867, with the Foundry of Val d'Osne casting the four external caryatid style torchère statues. These were based on two repeated beaux-arts neoclassical models originally sculpted by the prolific French sculptor Mathurin Moreau entitled Égyptienne – the two female Ancient Egyptian figures flanking either side of the front door, and Négresse – the two female ancient Kushite (Nubian) figures flanking either corner of the main building. All four statues are wearing gold coloured anklets, and are draped, with jewellery picked out in gilt while supporting a torch with a frosted glass flambeau shade. All four statues are on a circular base with a further square metal plinth with cartouches to the angles indicating royal descent.
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Pilgrim bottle. Alabaster, gold-mounted with a silver foot, inscribed with cartouches of Ramesses II and Nefertari, 19th Dynasty, From Thebes, Egypt, The Petrie Museum of Egyptian Archaeology, London Nefertari held many titles, including: Great of Praises (wrt-hzwt), Sweet of Love (bnrt-mrwt), Lady of Grace (nbt-im3t), Great King’s Wife (hmt-niswt-wrt), his beloved (hmt-niswt-wrt meryt.f), Lady of The Two Lands (nbt-t3wy), Lady of all Lands (hnwt-t3w-nbw), Wife of the Strong Bull (hmt-k3-nxt), god's Wife (hmt-ntr), Mistress of Upper and Lower Egypt (hnwt-Shm’w-mhw).Grajetzki, Ancient Egyptian Queens: A Hieroglyphic Dictionary, Golden House Publications, London, 2005, Ramesses II also named her 'The one for whom the sun shines'.
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Entrance to Luxor Temple The Luxor Temple is a huge ancient Egyptian temple complex located on the east bank of the River Nile in the city today known as Luxor (ancient Thebes). Construction work on the temple began during the reign of Amenhotep III in the 14th century BC. Horemheb and Tutankhamun added columns, statues, and friezes – and Akhenaten had earlier obliterated his father's cartouches and installed a shrine to the Aten – but the only major expansion effort took place under Ramesses II some 100 years after the first stones were put in place. Luxor is thus unique among the main Egyptian temple complexes in having only two pharaohs leave their mark on its architectural structure. Hypostyle hall of Karnak Temple.
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Around the mid-century, Cardinal Leopoldo de' Medici had his large picture collection, housed in the Pitti Palace in Florence, reframed in the auricular style,Mosco; Davis Deborah, The Secret Lives of Frames: One Hundred Years of Art and Artistry, 54 perhaps influenced by Stefano della Bella. These Medici frames were more three-dimensional than the other frame styles, with more areas both raised or entirely cut through.Kerraker, Gene D., Looking at European Frames: A Guide to Terms, Styles, and Techniques, 18-21, 2009, Getty Publications, , 9780892369812, google books The framing styles were long- lasting, surviving in use long enough to be reinvigorated by the Rococo. The style was effective for cartouches, whether in three-dimensional uses or for bookplates and the like.
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That work has not withstood the destruction of the building, bombed in March 1945 and pulled down during the following years.Maler, K. 2008 The mentioned busts decorating buildings' fronts were similar to cartouches placed above main buildings' doors. Those bas-reliefs, created by Ondrusch, decorated buildings constructed in the years 1922-1923 in Leobschütz and they portrayed Saint Hedwig with a church in the background; Saint Joseph with Jesus; Saint Martin with a coat with which he covers the needy; Saint Anne with Jesus; Saint Elizabeth with the roses; the Holy Family escaping from Egypt; the Franciscan saints; Saint George who kills a dragon; and the Madonna, this single sculpture being exceptionally done in limewood. The material used for these carvings was taken from earthworks carried out during the construction of a sports field.
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On Number 6-8 is the House of Banér, the major portal of which is on the opposite side, facing Bollhusgränd, while the 'modest' portal on this side carries the arm of Per Banér and Hebbla Fleming. On the façade is also the fire bird Phoenix taking off surrounded by flames, the symbol of the fire insurance company created to tackle the fires frequently ravaging the old town, owned by its customers and still residing on Mynttorget. The cartouches are from the 17th century, while the portals and remaining façade is from the 18th century. Number 10-12 were merged in the 1760s when the top of the building was added and the building got much of its present appearance, save for the enlarged shop windows and some original decorations now gone.
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On the left of this scene is still visible the image of St. Peter bishop, owner of the building, sitting on a bench and with the attribute of the keys. It is a cycle of considerable stylistic level and of great interest, also iconographic, with overabundance of elegant cartouches, sometimes furnished with a colored initial. Substantial are still the stylistic and thematic references to the world of Jaquerian frescoes with other aspects that recall certain visible developments in the Novarese painting, as shown by the general structure and certain details such as the seated Virgin, with a polygonal perspective base (cycles of Novara or Casalvolone). But the most direct stylistic reference is with the cycle discovered in the summer of 2007 in the parish church of San Giovanni di Torre Canavese.
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In addition to the standard repertory of decorative moldings in the form of cartouches, festoons, cornices, consoles, of special artistic value is the anthropomorphic plastic located in the central part of the roof of the building. It consists of two figures made from artificial stone, modeled on ancient sculpture. On the left of the richly decorated aedicule there is a figure of a woman with a wreath, and on the right, there is a man with the beam and snowplow. Construction work, strength of structural compositions, the richness and variety of materials, precision and quality of artistic handicraft realized in accordance with a high level of architectural and artistic results were achieved in this extraordinary Jovanović's work in the field of residential architecture of Belgrade, by the end of the last century.
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Roman carvers' shops outshone the more modest craft of cabinetmaking, as demanding commissions overseen by architects for carved decors, frames, altar candlestands, confessionals and pulpits came in a steady stream for the furnishings of churches and semi-public chapels. In secular apartments of parade, richly carved, painted and gilded frames came from the same shops. Carved frames and case furniture had come to rival the former primacy of textiles during the course of the 16th century. Baroque objects were grand in scale in proportion to the interiors they occupied, and would be ornamented with cartouches, swags and drops of boldly scaled fruits and flowers, open scrollwork and carvings of human figures, which swarmed over and all but effaced the tectonic forms that supported them which made them look majestic and royal in appearance.
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This suggests that the newly identified Hedjkhperre Shoshenq IV was a late Tanite- era king who ruled in Egypt either during or after the reign of Shoshenq III. Rohl had already pointed out in 1989 that the cartouches of a Hedjkheperre Shoshenq appear on a stela (St. Petersburg Hermitage 5630) dated to Year 10 of the king.D. Rohl: ‘The Early Third Intermediate Period: Some Chronological Considerations’, Journal of the Ancient Chronology Forum 3 (1989), pp.66-67. This stela mentions a Great Chief of the Libu, Niumateped, who is also attested in a Year 8, usually attributed to Shoshenq V. Since the title ‘Chief of the Libu’ is only documented from Year 31 of Shoshenq III onwards, it seems this new king must have ruled contemporary with or after Shoshenq III.
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The Hotel Astoria (later John Jacob Astor Hotel) was designed by architects Tourtellotte & Hummel, who were based in Portland from 1922 to 1930 and who, after the Astoria project, designed two other hotels that are now NRHP-listed: the Lithia Springs Hotel (Ashland, Oregon) and the Redwoods Hotel (Grants Pass, Oregon). Constructed of reinforced concrete, the eight-story John Jacob Astor Hotel building features Gothic decorative elements. The seventh floor is decorated with several escutcheons, one every third window, and the window groups at the building's corners at this level are additionally topped by rounded arches "embellished with elaborate cartouches in cast stone". Each group of three windows at the mezzanine level, or second floor, includes two Corinthian pilasters and is topped by a pointed arch and a frieze with three small shields above.
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Two of the four walls are noteworthy for the presence of eight wooden panels with relief medallions depicting biblical episodes from the Book of Exodus, including the city of Jericho, the Crossing of the Red Sea, the Altar of Sacrifice, the Manna, the Ark on the banks of the Jordan River, Korah, the gift of the Torah, and Moses making water flow from the rock. The eight medallions, painted in tempera, are of no particular artistic merit, but do stand out for their rarity: landscape paintings are indeed an extremely uncommon feature in synagogues, and their presence in the Canton Synagogue may reflect the influence of Central European models. The medallions are in fact reminiscent of oval cartouches displayed on the frontispieces of Jewish books printed in Kraków in the late sixteenth century.
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During 1822, he succeeded in identifying the names of pharaohs Ramesses and Thutmose written in cartouches in these ancient texts. With the help of a new acquaintance, the Duke de Blacas in 1824, Champollion finally published the Précis du système hiéroglyphique des anciens Égyptiens dedicated to and funded by King Louis XVIII. Here he presented the first correct translation of the hieroglyphs and the key to the Egyptian grammatical system. In the Précis, Champollion referred to Young's 1819 claim of having deciphered the script when he wrote that: This task was exactly what Champollion set out to accomplish in the Précis, and the entire framing of the argument was as a rebuttal to M. le docteur Young, and the translation in his 1819 article which Champollion brushed off as "a conjectural translation".
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A weighing scene shows Khabekhnet's brother Khonsu being led by Harsiese and Khonsu's wife by Anubis and a funeral procession accompanied by male mourners. In four other registers Sennedjem and relatives adore the Hathor-cow within a shrine, people part-take in a banquet, and the last register shows a funeral procession. Khabekhnet before Kings and Queens (TT2) The scene showing Khabekhnet offering before two rows of Kings and Queens is now in the Berlin Museum (1625). Upper part: The cartouches list (from right to left) Djeserkare (Amenhotep I), Ahmose-Nefertari, Seqenenre Tao, Ahhotep, king's sister Meritamun, a king's sister, mother of the god Kaesmut, king's sister Sitamun, a king's son (name lost), Royal Lady (name lost), Great king's wife Henuttamehu, king's wife Tures, king's wife Ahmose, king's son Sipair.
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Requiem is an old-style serif typeface designed by Jonathan Hoefler in 1992 for Travel + Leisure magazine and sold by his company, Hoefler & Co.. The typeface takes inspiration from a set of inscriptional capitals found in Ludovico Vicentino degli Arrighi's 1523 writing manual, Il Modo de Temperare le Penne, and its italics are based on the chancery calligraphy, or cancelleresca corsiva of the period. Like many other typefaces designed by Hoefler & Co., the family is large, intended for professional use. It is designed with three separate optical sizes of font, intended for different sizes of text, as well as two different styles of capitals inside cartouches intended for title pages and frontispieces. It also contains fleurons and italic ligatures inspired by calligraphy, as well as stylistic alternates such as an alternative 'Y' character.
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The same local styles are also used in the main altar like fruits and flowers including decorative motifs of foliage, angel heads, acanthus crenelations, cartouches and empty rectangle. The six relieves on the altar mayor are: # Ang Pagbisita (Visitation of the Angel Gabriel to Mary) # Ang Panunulúyan (Re-enactment of the journey of St. Joseph and Mary in search for lodging in Bethlehem) # Ang mga Mago (The Three Kings) # Ang Presentasyon sa Templo (The Presentation of Jesus at the Temple) # Ang Koronasyon (The Coronation of Mary) The seventh relief on the topmost level is a relief of the Santo Niño de Ternate. The image of the Nuestra Señora de Candelaria¸ patroness of Silang is currently located at the central niche of the first level of the altar mayor.
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Amarna Princess - Museum in Berlin Alabaster sunken relief depicting Akhenaten, Nefertiti, and daughter Meritaten, with early Aten cartouches on king's arm and chest, from Amarna, Egypt, Eighteenth Dynasty, The Petrie Museum of Egyptian Archaeology, London In year five of her father Akhenaten's reign, Meritaten appears on the boundary stelae designating the boundaries of the new capital to which her father moved the royal family and his administrators.Aldred, Cyril, Akhenaten: King of Egypt ,Thames and Hudson, 1991 (paperback), During Akhenaten's reign, she was the most frequently depicted and mentioned of the six daughters. Her figure appears on paintings in temples, tombs, and private chapels. Not only is she shown among images showing the family life of the pharaoh, which were typical of the Amarna Period, but on those depicting official ceremonies, as well.
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Pygmalion, book vignette from 1770 Pierre-Philippe Choffard (19 March 1731 – 7 March 1809) was a French draughtsman and engraver. Choffard was born in Paris in 1731. While still very young he showed great aptitude for drawing flowers and ornaments, and was placed with an engraver of maps named Dheulland, but he afterwards received lessons from Babel, an engraver of ornaments, and is said to have had also the benefit of the advice of Nicolas Edelinck, Balechou, and Cochin. Commencing with the cartouches of maps, which date from 1753 to 1756, he next engraved invitation and address cards and book-plates, and these drew attention to his abilities and secured for him the commission to execute the tail-pieces for the celebrated edition of the 'Contes' of La Fontaine published by the Fermiers-Généraux in 1762.
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From Amarna, Egypt. The Petrie Museum of Egyptian Archaeology, London Fragment of a stela, showing parts of 3 late cartouches of Aten. There is a rare intermediate form of god's name. Reign of Akhenaten. From Amarna, Egypt. The Petrie Museum of Egyptian Archaeology, London By Year Nine of his reign, Akhenaten declared that Aten was not merely the supreme god, but the only worshipable god. He ordered the defacing of Amun's temples throughout Egypt and, in a number of instances, inscriptions of the plural 'gods' were also removed. This emphasized the changes encouraged by the new regime, which included a ban on images, with the exception of a rayed solar disc, in which the rays appear to represent the unseen spirit of Aten, who by then was evidently considered not merely a sun god, but rather a universal deity.
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Thutmose II fathered Neferure with Hatshepsut, as well as a male heir, the famous Thutmose III, by a lesser wife named Iset before his death. Some archaeologists believe that Hatshepsut was the real power behind the throne during Thutmose II's rule because of the similar domestic and foreign policies that were later pursued under her reign and because of her claim that she was her father's intended heir. She is depicted in several raised relief scenes from a Karnak gateway dating to Thutmose II's reign both together with her husband and alone. She later had herself crowned Pharaoh several years into the rule of her husband's young successor Thutmose III; this is confirmed by the fact that "the queen's agents actually replaced the boy king's name in a few places with her own cartouches" on the gateway.
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Amenhotep III was originally thought to have been the first to build the Mut Temple, but now evidence tells us he contributed later to the site. The earliest dated cartouches are of Thutmose II and III of the 18th Dynasty (some evidence suggest that Thutmose’s name is likely a replacement for Hatshepsut’s erased name) (Waraksa, 2009, p. 4). According to Elizabeth Waraksa (2009), during the 19th Dynasty, Ramsses II worked broadly on Temple A, he placed two massive statues of himself and two alabaster stelae in the front of the temple’s first pylon. During the 20th Dynasty, Ramsses III built Temple C, it was used until the 25th Dynasty when it then became a quarry for renovations for Temple A. During his reign, Kushite ruler Taharqa in the 25th Dynasty made major changes to the Mut Precinct.
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Above heraldic achievement, see image He lies recumbent, in full armour, propped up on his right elbow, with his two widows kneeling at prayer at his head and feet. It was probably constructed by John Deymond, an Exeter mason. The Renaissance style comprises columns, strapwork, cartouches, obelisks, fruit and putti It displays the following Latin inscriptions: Anno Domini 1613; Mors janua vitae (Death is the gateway to life) and the well-known Mors mihi lucrumSt Paul's Epistle to the Philippians , 1:21 (Death to me is reward); Post tenebras spero lucem (After darkness I hope for light); Caro mea requiescit in spe (May my flesh rest in hope); A Deo omnis victoria (All victory comes from God). A rectangular space above his effigy which should have contained a marble tablet inscribed with his epitaph remains blank, as it was in 1697 when described by John Prince.
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Private Theophilus Jones of the 18th Battalion Durham Light Infantry, who fell as a result of this bombardment, is sometimes described as the first military casualty on British soil by enemy fire. This event (the death of the first soldiers on British soil) is commemorated by the 1921 Redheugh Gardens War Memorial together with a plaque unveiled on the same day (seven years and one day after the East Coast Raid) at the spot on the Headland (the memorial by Philip Bennison illustrates four soldiers on one of four cartouches and the plaque, donated by a member of the public, refers to the 'first soldier' but gives no name). A living history group, the Hartlepool Military Heritage Memorial Society, portray men of that unit for educational and memorial purposes. Hartlepudlians voluntarily subscribed more money per head to the war effort than any other town in Britain.
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But Kircher had been the first to suggest that modern Coptic was a degenerate form of the language found in the Egyptian demotic script, and he had correctly suggested the phonetic value of one hieroglyph – that of mu, the Coptic word for water. With the onslaught of Egyptomania in France in the early 19th century, scholars began approaching the question of the hieroglyphs with renewed interest, but still without a basic idea about whether the script was phonetic or ideographic, and whether the texts represented profane topics or sacred mysticism. This early work was mostly speculative, with no methodology for how to corroborate suggested readings. The first methodological advances were Joseph de Guignes' discovery that cartouches identified the names of rulers, and George Zoëga's compilation of a catalogue of hieroglyphs, and discovery that the direction of reading depended on the direction in which the glyphs were facing.
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At 14 stories tall, the Prince George Hotel at 14 East 28th Street, was one of New York's largest early 20th century hotels. It was constructed in two phases, with the main building going up in 1904 and a northern wing added in 1912. The exterior of the hotel has a Beaux-Arts character, with a rusticated limestone base, red brick and white terra-cotta trim above, and three-dimensional sculptural ornaments. Its ground floor included the Lady's Tearoom, the English Tap Room, and the Hunt Room. One of the centerpieces of the original building is The Ladies’ Tea Room, with its trellised piers and arches, Rook wood faience fountain, lighting set within opalescent glass cartouches, and murals by George Inness, Jr. The Ballroom at the Prince George is part of the Madison Square North Historic District and listed on the National Register of Historic Places.
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"The exterior of the building was of Argenteuil granite, Deschambault limestone and Citadel brick with high sloping roofs of copper. A 40 foot window over the entrance contained the arms of seven of the historic names of Quebec: Montmagny, de Tracy, Beauharnois, Montcalm, Wolfe, Frontenac and Talon. At the bases of its turrets were cartouches bearing the French fleur de lys, the Tudor rose, the Scottish thistle and the Irish shamrock, respectively. High upon the roof was an ornamental clock with a dial eight feet in diameter topped with the city’s arms. The ticket lobby measured 65 x 45 feet with a clearance of 60 feet to a stained glass skylight inset with a map of the CPR. The concourse/waiting room measured 125 x 62 feet and 40 feet high. Cast into the interior brickwork on the walls were embossed heraldic symbols of the founding races".
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Nabil M. Swelim, Aidan Dodson: On the Pyramid of Ameny-Qemau and its Canopic Equipment, In: Mitteilungen des Deutschen Archäologischen Instituts, Abteilung Kairo 54 (1998), p. 319 - 334 Additionally, the name of Ameny Qemau is believed to appear on an inscribed block which was found in a newly-discovered pyramid at Dahshur whose existence was announced in April 2017. Many Egyptologists such as James P. Allen, Aidan Dodson and Thomas Schneider agrees that the royal name on the block is that of Ameny Qemau. Dodson further speculated that, given the relatively poor quality of the inscription and the oddity for a pharaoh to be the owner of two pyramids, the newly-discovered one may have originally belonged to one of Qemau's predecessors, and that he may have usurped the structure by chiseling out the royal names on the block and superimposing his own cartouches on it.
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The stela, the top of which was originally coated with golf leaf, depicts Osiris enthroned with Isis and Anubis while Siaspiqa's is shown adoring the god.Dows Dunham, Nuri, Boston (1955), p. 176 Another granite offering table likely originating from the chapel of Nuri 4, was discovered in the Coptic church Nuri 100, where it was used as construction material.Dows Dunham, Nuri, Boston (1955), p. 272 The church doorway and stair housed two further granite offering stands with the cartouches of the king.Dows Dunham, Nuri, Boston (1955), p. 177 These objects are now in the National Museum of Sudan, Khartoum. His tomb, the 4th pyramid of Nuri, was excavated in 1917 under the aegis of a joint Harvard University-Boston Museum of Fine Arts Expedition. These works have yielded at least 11 fragmentary faience shawabtis found in debris left by thieves, the upper half of one of which is currently housed in the Boston Museum of Fine Arts.
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Fragment, The Metropolitan Museum of Art, Mamluk Carpet, early 16th century The configuration of most Mamluk carpets can be simplified to a single central component radiating outwards from the core of the rug, which is either framed by the outer border or flanked by oblong panels often subdivided into tripartite shapes echoing the geometric design of the central component. In some cases the oblong panels contain rows of stylized cypresses, palm trees, and an umbrella-shaped leaf design, a common motif in Mamluk carpets; for example, the Kelekian Mamluk rug owned by the Textile Museum in Washington D.C. datable to the first half of the sixteenth century. The outer borders, a chief identifying feature of all Mamluk carpets, are consistently lined with medallions alternating with oval cartouches. Mamluk carpets have often been described as having a kaleidoscopic quality because of how the central design forms a series of interlacing stars and polygons around it, whereby each shape is further subdivided and decorated.
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The new style in Paris was characterized by opulence, irregularity, and an abundance of decoration. The straight geometric lines of the buildings were covered with curved or triangular frontons, niches with statues or cariatides, cartouches, garlands of drapery, and cascades of fruit carved from stone. The Church of Saint-Paul-Saint-Louis (1634) At about the same time that the ornate baroque style appeared, the architect Salomon de Brosse (1571-1626) introduced a new classical French style, based on the traditional orders of architecture (Doric, Ionic and Corinthian), placed one above the other. He first used this style in the facade of the Church of St- Gervais-et-St-Protais (1616-1620) The style of the three superimposed orders appeared again in the Eglise Saint-Paul-Saint-Louis, the new Jesuit church in Paris, designed by the Jesuit architects Etienne Martellange and François Derand. Another type of church facade appeared in the same period, imitating the church of the Jesuits in Rome built in 1568.
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Considered one of the most important archaeological sites in Egypt, the sacred city of Abydos was the site of many ancient temples, including Umm el-Qa'ab, a royal necropolis where early pharaohs were entombed. These tombs began to be seen as extremely significant burials and in later times it became desirable to be buried in the area, leading to the growth of the town's importance as a cult site. Today, Abydos is notable for the memorial temple of Seti I, which contains an inscription from the Nineteenth Dynasty known to the modern world as the Abydos King List. It is a chronological list showing cartouches of most dynastic pharaohs of Egypt from Menes until Seti I's father, Ramesses I. It is also notable for the Abydos graffiti, ancient Phoenician and Aramaic graffiti found on the walls of the Temple of Seti I. The Great Temple and most of the ancient town are buried under the modern buildings to the north of the Seti temple.
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Along with its precision and technical watches, Charles Oudin has always made watches whose elegant design and decoration were among the most fashionable, made by the finest artisans of the French capital. Among them: \- A gold and enamel purse- shaped watch, whose cover was adorned with diamonds and a star set with amethysts and diamonds, made circa 1860 \- Cruciform watches, the earliest of which date from 1859; one of these watches, which was set with diamonds, sapphires and rubies, was created for the Queen of Spain circa 1860 \- A skeleton pendant watch in rock crystal, set with diamonds, with the motto "Dieu mon droit" in enamel cartouches on the watch face, made for the British royal family, shown at the 1862 Universal Exhibition of London \- Around 1920, as watches worn on the wrist grew in popularity, Oudin offered its first wristwatches for gentlemen and ladies. Some of these watches, with gold or platinum cases, were decorated with precious stones such as emeralds, sapphires, pearls, and diamonds.
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Relief of Ramesses IV at the Temple of Khonsu in Karnak Ramesses IV is attested by his aforementioned building activity at Wadi Hammamat and Serabit el-Khadim in the Sinai as well as several papyri and even one obelisk. The creation of a royal cult in the Temple of Hathor is known under his reign at Serabit el-Khadim while Papyrus Mallet (or P. Louvre 1050) dates to Years 3 and 4 of his reign. Papyrus Mallet is a six column text dealing partly with agricultural affairs; its first column lists the prices for various commodities between Year 31 of Ramesses III until Year 3 of Ramesses IV. The final four columns contain a memorandum of 2 letters composed by the Superintendent of Cattle of the Estate of Amen-Re, Bakenkhons, to several mid-level administrators and their subordinates. Meanwhile, surviving monuments of Ramesses IV in the Delta consists of an obelisk recovered in Cairo and a pair of his cartouches found on a pylon gateway both originally from Heliopolis.
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Toowoomba Railway Station (platform side), 2012 The Station Building (1874) is a substantial symmetrical building with an elongated rectangular plan with gabled bays to the east and west, and hipped roofs to the north and south. The building is finely detailed externally: the corners have pilasters formed by projecting quoins; floor and sill levels are articulated with string courses; the western ground floor openings have arched heads with keystones framed by continuous mouldings, and include a wide arch over a centrally placed entrance to the platform; the eastern ground floor windows have square heads and projecting quoins; the upper floor windows are framed with scrolled brackets supporting moulded projecting heads; the cornice has dentils and the gable ends have cartouches. Later alterations to the western elevation include concave awnings over the upper gable windows, and an enclosed timber verandah running between the two gabled bays with a corrugated iron awning projecting from the soffit. Two cast iron queuing rails are located outside ticket windows adjacent to the western entrance.
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Miller (2005) p. 80 rather than the French ones which were more oblong. As in the Baroque style, furniture for the wealthy was usually gilded with silver, gold or bronze. Middle-class families and Lombard workshops left furniture unpainted, and was often made with fruitwoods or walnut.Miller (2005) p. 80 Armchairs and couches had several cartouches and cabriole legs as in French designs, but usually looked more like joined-together seats in the English fashion.Miller (2005) p. 80 Italian settees tended to be low, and were usually placed in the borders of ballrooms and entrance halls for decoration or for seating at parties and balls.Miller (2005) p. 81 Console and side tables, however, remained very similar to the Baroque ones, often very rich in decoration, with caryatids and putti, and carvings gilded in gold and bronze. However, one major difference was that tables were given specific roles and were uniquely labelled. Trespoli served as commodes in bedrooms, to hold a candle and possibly some prized possessions and a crucifix,Miller (2005) p.
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Southeast Hampshire had a "flourishing local sculptural tradition" in the Georgian era, specialising in memorial tablets and monuments for churches and notable for "excellent lettering and decorative details", and St Thomas à Becket Church has a significant collection inside and in the churchyard. There are two 14th- century tomb effigies: one, in a segmental-arched recess, of Purbeck Marble depicting a praying figure in a long gown, with a later carving of angels raising a soul to Heaven in a napkin at the back of the recess; and another in an ogee-arched recess showing a lady lying with her "finely delineated" hands by her sides (showing a level of detail of "quite unusual excellence") and with her facial features still visible, although the effigy is worn. One historian states they may be daughters of Robert Aguillon of the Aguillon family, who owned land at Emsworth. On the walls are several cartouches of the late 18th and early 19th centuries, at least one signed by J. Morey, a member of a family of sculptors who is buried in the churchyard.
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The shield may have been designed by a Netherlandish artist, not Ghisi himself: other shields made in the Netherlands in the late 16th century have survived with similar decoration, but none of them demonstrate the accomplished decorative skills of Ghisi. For example, an iron shield held by the Kunsthistorisches Museum in Vienna has similar strapwork and embossed imagery with scenes of Jason and the Golden Fleece; and a similar gilded shield or rondache at the Hermitage in St Petersburg has four allegorical figures (Prudence, Fortitude, Fame, Envy) arranged in circular cartouches around a circular image of Mars. The Ghisi Shield was sold for £1,000 at the Allègre sale in Paris in 1863, and then sold in the sale of the Demidov Collection in Paris in 1870, shortly before the death of Anatoly Nikolaievich Demidov, 1st Prince of San Donato, for 1,600,000 francs (about £6,400). It was bought at the Demidov sale by Baron Anselm von Rothschild, and later inherited by his son Baron Ferdinand de Rothschild, who left it to the British Museum after his death in 1898 as part of the Waddesdon Bequest.
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The increase in protruding and voluminous details was a distinguishing symptom in the development of Eclecticism in its later period. The most characteristic works by Felsko in this period are the already mentioned apartment buildings at 25, Baznīcas Street and 27/29, Krišjāņa Valdemāra Street, as well as the buildings at 43, Dzirnavu Street (1898), 3, Elizabetes Street (1899), 22, 39 and 49, Ģertrūdes Street (1897, 1899 and 1906), 1 and 1a, A. Kalniņa Street (both 1895), and 13 and 36, Lāčplēša Street (both 1900). The facades of these buildings are like fantastic paintings with very carefully placed filigree elements of orders, cornices, pediments, garlands, cartouches, herms and many other elements of architectural and decorative finish. The reproduction of older, historical means of expression, on which the Eclecticism style was based, is, for the most part, centered on the free interpretation of the forms of the Renaissance; however, it is also possible to encounter Neo-Gothic and other Neo-styles. Neo-Gothicism, in Felsko's interpretation, can be seen on the apartment buildings at 8, Merķeļa Street (1882), and partly on the former pumping station at 194, Maskavas Street (1897).
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The tomb is located on the main path, close to the entrance to the Valley. Isometric, plan and elevation images taken from a 3d modelOnly the side chamber to the north ("Fa") was finished, with work on the second one ("Fb") only just begun when work stopped. Past this room and running along the same axis as the corridor are three further rooms ("G", "H" and "I"), the first two of which have vaulted ceilings. One of these two final vaulted chambers was likely intended as a burial chamber. The tomb is located on the main path, close to the entrance to the Valley. What tomb decoration that survives can be found only along the length and flanking gates on either end of corridor B. These show Rameses III followed by an unnamed prince, attended by various gods and goddesses. It is thought that more decoration once existed, since Karl Lepsius noted traces of paint on the vaulted chambers and mentions cartouches and images of Ramesses III in the first corridor when he visited the tomb in the 1840s. There is evidence that in the Byzantine period the tomb was used as a Christian chapel.
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