119 Sentences With "caryatid" | Random Sentence Generator

What resulted was "Sphere" (or "Grosse Kugelkaryatide," the large spherical caryatid).

Aquazzura shoes are so comfortable, I would recommend them to a caryatid.

The crown on this caryatid resembles the African-American museum on the National Mall.

The MoMA caryatid is fully rounded and flintily sculptural, but imbued with a surprisingly soft, fleshy warmth.

To the right, the faintly colored wood sculpture, "Caryatid" (1909-10), has a hard time holding its own.

At the same time, Antoni endows the caryatid with the strength to break what she is expected to support.

It draws on the shape of a Yoruban caryatid, a traditional West African column with a corona at the top.

Janine Antoni's "Caryatid (Crackled green glaze over red oxide on an ovoid bodied vase with a truncated neck)" (2003) is an inverted monument.

This is where Modigliani is at his most carnal and hallucinatory, especially in the blue caryatid in gouache, watercolor, chalk, and graphite, dated c.

The final, and largest, room in the exhibition is devoted to the caryatid, the architectural motif depicting a crouching nude shouldering the weight of a building.

She is also drawn to a more elaborate Yoruba caryatid in which a standing female is accompanied by two children, a horse and baskets of food.

Silvery, Grecian-style dresses provided a few flashes of color, in looks inspired by caryatid - the sculpted female figures used as columns, and which adorn many buildings in Paris.

The building's shape was inspired by the three-tiered crown atop a Yoruban Caryatid, with the crown panels reminiscent of the wrought iron designs created by enslaved craftsmen in 53th-century New Orleans.

Resuming the artist's ongoing Caryatid series from 2004, these slow-motion videos present excerpts from different boxing matches where one fighter has been digitally removed, illustrating the loneliness and destruction embedded in one half of any two-person battle.

Kaleidoscopic paintings by Richard Tinkler at 56 Henry's booth; boisterous works by Carmen Winant spelling out "WOMEN ARE FURIOUS WE WILL BE FREE!" in glass lettering at the booth of Fortnight Institute; and Caryatid (2019), a large outdoor sculpture by Carolyn Salas presented by the ever-surprising Mrs.

" He's also, you might say, a would-be Greek, that is, someone who, after years abroad, cannot see how to "find my path in my own country" and compares himself to the reproduction on the Acropolis of a caryatid that was spirited away to the British Museum a century before, "the clay copy of a living being who has remained abroad.

The Eiffel faux, as it were, was the scene for nearly 70 looks of heavy tweeds, nipped waists, and mutton-sleeve coats and jackets in grays, brown, and aubergine—an almost pastoral view of a bygone Paris, more akin to Gustave Caillebotte's 1877 Paris Street: Rainy Day than, say, Marie Laurencin's famous 1923 portrait of Coco Chanel, in which she is lost in solemn, almost hopeless reverie, and draped in slate blue and inky black like a ballet dancer or a caryatid exhausted by the weight of promoting her own grand ideas.

A caryatid stool is therefore a concrete manifestation of this metaphysical "seat." One such Luba creator of caryatid stools is the 19th Century sculptor Ngongo ya Chintu.

The building is adorned with twelve caryatid which were created by the sculptor Wilhelm Rasmussen between 1920-1922.

One of these instrumental group performances is particularly interesting for its live-action caryatid figure imitation by Poro society drum bearers. The demonstration itself is a Poro society ritual practice, whereby young, unmarried Senufo females actually bear the considerably heavy drums of the players, holding the instrument in the same pose as that of the caryatid figure.

"The Permanent Collections,". Retrieved August 2, 2019. Elmhurst College, Illinois State Museum,Illinois State Museum. "Dyadic Caryatid II, 1978" Collection. Retrieved August 2, 2019.

311x311px The original caryatid maidens of the Acropolis were replaced by replicas due to air pollution and five of the six originals are now housed in the Acropolis Museum in Athens. The sixth caryatid was stolen by the command of British Lord Elgin and is now held in the British Museum in London. There are two different views for the meaning behind the caryatid maidens in the literature, the first being a maiden dancer from the village of Karyes and the second an imprisoned slave. Geographer Pausanias’ historical account from the second century AD discusses the history behind the Caryatid statues as representing dancers from Karyes. He states every year in Karyes the Lacedaemonian, virgin dancers would perform the dance of ‘caryatis’ around a statue of the goddess Artemis Caryatis at a summer festival called Karyateia.

The Caryatid porch of the Erechtheion in Athens, Greece A caryatid from the Erechtheion, standing in contrapposto, displayed at the British Museum A caryatid ( ; , pl. ) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head. The Greek term karyatides literally means "maidens of Karyai", an ancient town of Peloponnese. Karyai had a temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis: "As Karyatis she rejoiced in the dances of the nut-tree village of Karyai, those Karyatides, who in their ecstatic round-dance carried on their heads baskets of live reeds, as if they were dancing plants".

The Caryatid The Townley Caryatid is a 2.25m high Pentelic marble caryatid, depicting a woman dressed to take part in religious rites (possibly fertility rites related to Demeter or Ceres, due to the cereal motifs on her modius headdress). It dates to the Roman era, between 140 and 160 AD, and is in the Neo Attic style adapted from 5th century BC Athenian workmanship. It is one of a group of five surviving caryatids found on the same site, arranged to form a colonnade in a religious sanctuary built on land fronting on the Via Appia owned by Regilla, wife of the Greek magnate and philosopher Herodes Atticus. This sanctuary was probably dedicated to Demeter.

Kipoko mask, Eastern Pende, West Kasai, Congo. On display at Cantor Art Center, Stanford. Stool with "Caryatid" Figures. Brooklyn Museum 22.1389 Ivory miniature carved in the form of a mask.

In the arts of design, the draped figure supporting an acanthus-grown basket capital taking the form of a candlestick or a table-support is a familiar cliché of neoclassical decorative arts. The John and Mable Ringling Museum of Art in Sarasota has caryatids as a motif on its eastern facade. St. Gaudens' caryatids In 1905 American sculptor Augustus Saint Gaudens created a caryatid porch for the Albright-Knox Art Gallery in Buffalo, New York in which four of the eight figures (the other four figures holding only wreaths) represented a different art form, Architecture, Painting, Sculpture, and Music. Auguste Rodin's 1881 sculpture Fallen Caryatid Carrying her Stone (part of his monumental The Gates of Hell work) shows a fallen caryatid.

Luba caryatid stool, from the collection of the Brooklyn Museum While many objects of Luba art appear to be functional, their utilitarian purposes have been replaced or augmented by symbolic purposes. Sculpted caryatid stools serve symbolically as seats of power and sites of memory for deceased kings and chiefs rather than serve as places to sit. Therefore, they are metaphorical, not literal, seats of kingship. The design of Luba seats of leadership may either be abstract or figurative.

The five originals that are in Athens are now being exhibited in the new Acropolis Museum, on a special balcony that allows visitors to view them from all sides. The pedestal for the caryatid removed to London remains empty. From 2011 to 2015, they were cleaned by a specially constructed laser beam, which removed accumulated soot and grime without harming the marble's patina. Each caryatid was cleaned in place, with a television circuit relaying the spectacle live to museum visitors.

Džemma Skulme worked in oil, acrylic and water-colours. Beginning in the 1970s she developed the theme of the caryatid, wherein she endeavored to reveal the ethical and spiritual strength of a woman (The Women of Nica, 1968; Caryatid, 1979, and others). She also turned to a rifleman theme, Latvian ethnography and the principles of folk art. In her paintings of the second half of 1960s her worldview became more dramatic and she has raised the expressiveness of her work by using large brush or even palette knife for colour application.

304–305, et al. Winckelmann conjectured that an atlantid (the male version of a caryatid), formerly at the Palazzo Farnese, was the work of Diogenes.Winckelmann, The History of Ancient Art, pp. 184–185. The conjecture is labeled as such.

A Caryatid is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head. The Greek term karyatides literally means "maidens of Karyai", an ancient town of Peloponnese.

It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half- hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton. , modern sculptures are displayed in empty niches along the Long Gallery.

Taylor, p.60, cited Whittle (1989). Although most of this decoration has since been lost, two caryatid statues can still be seen on the walls of the Long Gallery, modelled on a work by the French artist Hugues Sambin.Kenyon (2003), p.42.

On the other hand, the kore is very small and would only fit as the caryatid of a small naiskos or a secondary entrance and even then it would have to have been placed on top of a podium. A votive function cannot be excluded therefore.

Its original headquarters was acquired by Banco Galicia in 1988, who demolished the original building in 2001. The Banco Español del Río de la Plata had branches in several European cities, including Barcelona, Madrid (Caryatid Building) and London. It was merged with the Banco Comercial del Norte in 1983.

A caryatid from the Erechtheion wearing a chiton. Greeks and Greek culture enters the Israelite world beginning with First Maccabees. Likewise the narrative of the New Testament (which was written in Greek) entered the Greek world beginning about . Clothing in ancient Greece primarily consisted of the chiton, peplos, himation, and chlamys.

In the second storey slender fluted pilasters separate the windows, which alternate delicate triangular and arched pediments. Goujon's noble sculpture and architectural ornaments are cleverly subordinated to the construction, but the surviving ground-floor Salle des Cariatides (1549) is named for Goujon's four caryatid figures that support the musicians' gallery.

Intricate hairstyle of caryatid, displayed at the Acropolis Museum in Athens Some of the earliest known examples were found in the treasuries of Delphi, including that of Siphnos, dating to the 6th century BC. However, their use as supports in the form of women can be traced back even earlier, to ritual basins, ivory mirror handles from Phoenicia, and draped figures from archaic Greece. The best-known and most-copied examples are those of the six figures of the Caryatid porch of the Erechtheion on the Acropolis at Athens. One of those original six figures, removed by Lord Elgin in the early 19th century, is now in the British Museum in London. The Acropolis Museum holds the other five figures, which are replaced onsite by replicas.

Caryatid & BinneKant Die Wit Does and Imperfect Performance: A tale in Two States are among her most recent live performances, seen at the Düsseldorf Art Fair in Germany, and the Moderna Museet in Stockholm, Sweden, respectively. In 2001 Rose was also included in "Plateau de l'humanite" in the 49th Venice Biennale curated by Harald Szeemann.

The original design contained three main storeys, an attic storey, pavilions, mansards, and basements, as well as shallow porches, square headed doorways, shallow architraves, first floor cornices, balustraded parapets, wings with Venetian-style windows, cast iron balconies, and spearhead area railings. There are fluted shafts, well proportioned capitals, and an entablature, No. 1 was adorned with a caryatid- bow.

According to Alisa LaGamma in Heroic Africans: Legendary Leaders, Iconic Sculptures: > The artist's signature expressionistic style features exaggeration of the > face and hands through elongation, which allowed him to reinterpret and > ingeniously exploit the formal possibilities of different genres of prestige > sculpture: standing figures as caryatid supports for seats...seated mboko > (bowl bearers)...and stately male figures.

"Création des fontaines Wallace ." Retrieved: 4 February 2013. The design of this larger model was inspired by the Fontaine des Innocents in Paris, while the caryatid figures may have been inspired by Renaissance sulptor Germain Pilon's Les trois grâces. Some smaller models feature the head of a nymph to distribute water, and later models utilize columns rather than caryatids.

The original caryatids were dancers from Karyes but later, any female from the Laconian area who performed this dance was also called a caryatid. Pausanias also mentions a temple of Artemis located in Karyes and says that she was sacred in this area. Roman architect, writer and engineer Vitruvius had his own opinion on the history behind the caryatids.

A fragmentary caryatid from the series, now in the Villa Albani, Rome, is signed by the otherwise unknown Athenian sculptors Kriton and Nikolaos. It was acquired with other purchases from the Villa Montalto in 1787A. H. Smith, "Gavin Hamilton's Letters to Charles Townley" The Journal of Hellenic Studies 21 (1901: 306–321) p. 306 note 3.

Girls from Caryae were considered especially beautiful, strong, and capable of giving birth to strong children. A caryatid supporting a basket on her head is called a canephora ("basket-bearer"), representing one of the maidens who carried sacred objects used at feasts of the goddesses Athena and Artemis. The Erectheion caryatids, in a shrine dedicated to an archaic king of Athens, may therefore represent priestesses of Artemis in Caryae, a place named for the "nut-tree sisterhood" - apparently in Mycenaean times, like other plural feminine toponyms, such as Hyrai or Athens itself. The later male counterpart of the caryatid is referred to as a telamon (plural telamones) or atlas (plural atlantes) - the name refers to the legend of Atlas, who bore the sphere of the heavens on his shoulders.

Karyes also goes by the name of Arahova (not to be confused with Arahova of Boetia, Greece) which was thought to have originated from the Slavic word for walnut. The village of Karyes is the birthplace of the six caryatid maidens which are featured in architecture in the place of columns on the ancient and world famous Erectheion of the Acropolis.

The interior of the shelves displaying the vermeil were covered in white velvet. One of two neoclassical caryatid mantels was installed (still in place). White damask drapes were made with blue and off-white fringe trim. A finely patterned blue and white carpet was installed, and a large center table was created with a custom dyed blue velvet cloth not delivered until the Johnson years.

A stair carpet in a shade of red has been used since the administration of Theodore Roosevelt. During the Kennedy restoration, the carpet was made deeper, more crimson. A mahogany pier table with gilded caryatid supports attributed to New York cabinetmaker Charles-Honoré Lannuier is located at the bottom of the stair. Portraits of 20th century presidents and first ladies hang on the walls.

The precursor of Upholder (S40) was . In 1941 Upholder (P37) was granted a badge which contained a caryatid. The ship's captain, Lieutenant Commander Malcolm Wanklyn, described the badge as "an armless Greek bint standing in a dustbin"; and designed his own unofficial badge for the ship. Upholder (S40) originally sailed under the earlier Upholder's official badge, yet was allowed to sail under the badge designed by Wanklyn.

Statues at the "House of Cleopatra" in Delos, Greece. Man and woman wearing the himation Caryatid from the Erechtheion wearing a peplos. The blousing, or kolpos, is atop zone Clothing in ancient Greece primarily consisted of the chiton, peplos, himation, and chlamys. Ancient Greek men and women typically wore two pieces of clothing draped about the body: an undergarment ( : chitōn or : péplos) and a cloak ( : himátion or : chlamýs).

500 BC, reproducing the portico of his palace. Its first employment in Athens is in the cornice of the caryatid portico of the Erechtheum (480 BC). When subsequently introduced into the bed-mould of the cornice of the Choragic Monument of Lysicrates it is much smaller in its dimensions. In the later temples of Ionia, as in the temple of Priene, the larger scale of the dentil is still retained.

Luba caryatid stools embodied important rulers of the past. When a Luba king died, his royal residence (or kitenta) became the site where his spirit was incarnated by a female medium called Mwadi. This woman was possessed by the spirit of the king and inherited his insignia, dignitaries and wives. The succeeding king established a new residence, and throughout his reign he offered tribute to the mwadi of his predecessor.

In Early Modern times, the practice of integrating caryatids into building facades was revived, and in interiors they began to be employed in fireplaces, which had not been a feature of buildings in Antiquity and offered no precedents. Early interior examples are the figures of Heracles and Iole carved on the jambs of a monumental fireplace in the Sala della Jole of the Doge's Palace, Venice, about 1450.Noted by James Parker, in describing the precedents for the white marble caryatid chimneypiece from Chesterfield House, Westminster, now at the Metropolitan Museum of Art (Parker, "'Designed in the Most Elegant Manner, and Wrought in the Best Marbles': The Caryatid Chimney Piece from Chesterfield House", The Metropolitan Museum of Art Bulletin, New Series, 21.6 [February 1963] pp. 202-213). In the following century Jacopo Sansovino, both sculptor and architect, carved a pair of female figures supporting the shelf of a marble chimneypiece at Villa Garzoni, near Padua.Also noted by Parker 1963:206.

For example, the second caryatid from the right is a woman holding snakes to her breast; she may represent Luxuria (unchastity). The caryatids at left, on the other hand, appear to represent virtues. For example, the second figure from the left is a man wearing a plaited belt; he may represent Fortitudo (bravery). The uppermost register, in which Christ appears flanked by the twelve apostles, is most likely a representation of the Last Judgment.

No architect mentioned the device until 1615, when Palladio's pupil Vincenzo Scamozzi included a chapter devoted to chimneypieces in his Idea della archittura universale. Those in the apartments of princes and important personages, he considered, might be grand enough for chimneypieces with caryatid supporters, such as one he illustrated and a similar one he installed in the Sala dell'Anticollegio, also in the Doge's Palace.Both remarked upon by Parker 1963:206, and fig. 9.

The artwork refers to typical elements for ornamentation and are harmoniously incorporated into an asymmetrical whole; include a cabinet, the cornucopia, an eagle and a Caryatid. The artist with his characteristic organic style shaped something that not only represents Antwerp, but also paid homage to the patron Tony Bogaert, an extravagant figure and mischievous and cunning businessman. A fool's cap and fox refer to this and are processed at the top of the façade sculpture.

The history of the Caryatides illustrates well the collaborative system of royal sculpture during the period in which Sarazin worked. The facade had been designed by the royal architect, Jacques Lemercier, as an extension of the earlier facade across the courtyard made by Pierre Lescot. The Caryatides were inspired by six figures of the Caryatid Porch of the Erechtheion on the Acropolis at Athens. They had been drawn frequently by artists, and one had been brought to London.

The most characteristic motifs of this facade are the caryatids at the first-floor level which, above the balconies at each end of the facade support richly made tympanums of the ending windows. The caryatid are repeated on the facade facing the Kralja Milana street, and the line of Doric columns in beneath them. The Doric columns also appear on the facade against the garden, between richly decorated windows. The other two facades are somewhat simpler.

A himation, or cloak, could be worn over- top of the chiton. There are two types of chitons – Doric and Ionic, named for their similarities to the Doric and Ionic columns. The Doric chiton is "sleeveless", as sleeve technology had not really been created yet. Much like that on the caryatid above, the Doric chiton has a fold over at the top or apoptygma, is attached with fibulae at the shoulders, and is belted at the waist.

In 1991, The New York Times published a feature article on maintenance of the garden. An employee monitors the sculptures with weekly inspections, driving around in a golf cart "outfitted with brooms, brushes, a ladder, calipers, thermometers and a can of Pepsi." Nature and pollution can threaten the artwork. In the spring, birds like to nest in a work by Nevelson, chipmunks prefer the mysterious inner spaces of Judith Brown's "Caryatid", a welded steel sculpture made of automobile parts.

Caryatid figure by Ngongo ya Chintu Ngongo ya Chintu (an honorific title meaning "the great leopard, the father of sculpted things") worked in what was then the Kingdom of Luba, sometime between 1810 and 1870. He carried on a long tradition of Hemba art. Hemba sculpture usually honoured prominent male leaders of the tribe. Ngongo ya Chintu carved both ancestor figures and female figures such as vessel bearers and caryatids, which served as stools for leaders.

Caryatid Porch of the Erechtheion, Athens, 421–407 BCE. The Panathenaea (, "all-Athenian festival") was the most important festival for Athens and one of the grandest in the entire ancient Greek world. Except for slaves, all inhabitants of the polis could take part in the festival. This holiday of great antiquity is believed to have been the observance of Athena's birthday and honoured the goddess as the city's patron divinity, Athena Polias ('Athena of the city').

By carving the chimney breast as a rule to the ceiling and covering the surrounding walls with more or less plain paneling, the designer, by thus concentrating the attention on one point, often produced results of a high order. Caryatid figures, pilasters and friezes were among the customary details employed to produce good effects. No finer example exists than that lately removed from the old palace at Bromley-by-Bow to the Victoria and Albert Museum. The mantelshelf is .

The almost bare stone facade is unusual for it portal with caryatid pilasters. The marble architrave is decorated with angels and festoons of fruit. The portal once had three 15th-century marble statues of Saints Peter, Paul, and Andrew, now moved inside of the church. The facade also has a seal of the town, carved in stone, consisting of a shield and eight pointed stars, in reference to the Statutes of the Comune of Sarzana in 1330.

The suite was reupholstered in a wool and silk velvet faux tiger print during the administration of George W. Bush and moved to the Center Hall from the Yellow Oval Room. Also in the room is a Louis XVI mahogany cylinder desk acquired for the Red Room during the administration of President John F. Kennedy. A pair of bronze French Empire caryatid torchères from Château de Malmaison were originally acquired for the Blue Room by Kennedy decorator Stéphane Boudin.

The base-relief motifs and iconography evident found on the caryatid drum can be found in other Kulebele works, including the doors (to the right) made by western Kulebele workshops. However, Kulebele work does not only reside in Senufo culture. Since the 1940s the Kulebele have diversified their production, in order to sell their work to the changing tourist markets. This expansion has led away from the Senufo work, towards working Asante combs, Baule figures, and Dan masks.

The original structure featured three arches; however, only two full arches and part of the third survive to this day. Many of the arches' marble parts survive as well, although it is mostly the brick interior that can be seen today. Other monuments of the city's past, such as the Incantadas, a Caryatid portico from the ancient forum, have been removed or destroyed over the years. The Incantadas in particular are on display at the Louvre.

Galina Kakovkina, Light. Fragment #30, 1996 In 1995–96 Gallery "Caryatid" spends the series of Galina's personal exhibitions ("Walk in the Garden", "Between a Thing and Emptiness", "Time Name"), and also Galina Kakovkina and Liubov Saprykina together with the Nizhniy Novgorod TV create video project "Painting Interpretation". Galina Kakovkina, Road across the Hills, 2007 In 1998, Nizhny Novgorod Exhibition Center held Galina's personal exhibition "Light. Fragments", consisting of paintings in which she tries to identify light as the mystical category.

Yandell also took advantage of apprenticeships with noted sculptors of the day. These included Lorado Taft, Philip Martiny and Karl Bitter. Yandell was one of a group of women sculptors known as the White Rabbits, who were organized by sculptor Lorado Taft to complete the numerous statues and other architectural embellishments for the Horticultural Building at the World's Columbian Exposition in Chicago in 1893. She also designed and carved the caryatid that supported the roof garden of The Woman's Building.

The Mansi family retained prestige in the early 19th century; Raffaele Mansi and Camilla Parensi had been appointed courtiers to Elisa Bonaparte and Felice Baciocchi. Raffaello Mansi Orsetti, who died in 1956, was the first to display the art collections to the public. In the mid-1960s his children sold the palace to the state, which has converted into a National Museum of arts and tapestries. The interiors house a highly decorated bedroom alcove with gilded caryatid columns flanking the portal.

Jianou & Goldscheider, 41. The Gates of Hell comprised 186 figures in its final form. Many of Rodin's best-known sculptures started as designs of figures for this composition, such as The Thinker, The Three Shades, and The Kiss, and were only later presented as separate and independent works. Other well-known works derived from The Gates are Ugolino, Fallen Caryatid Carrying her Stone, Fugit Amor, She Who Was Once the Helmet-Maker's Beautiful Wife, The Falling Man, and The Prodigal Son.

The great hall fireplace has an original plasterwork overmantel featuring egyptianesque caryatid figures and the King James Arms. One can walk erect inside the fireplace and conduct a small meeting inside with bench seating built in. The firebox also hosts the Laird's Lug, a secret listening system allowing the Laird to overhear conversations in the Great Hall from his suite above. The third level consists of a number of bedrooms: The Laird's Bedroom, The Priest's Bedroom, The Queen's Bedroom, The Queen's Winter Bedroom.

Boudin purchased and installed black and gilt French Empire sconces on the piers, and hung four of the paintings beneath them. A French Empire gilt bronze and crystal chandelier was mounted in the center of the ceiling. Additional lighting was provided by a pair of caryatid torchères. An early 19th-century rectangular blue, gold, and pink French Empire carpet manufactured at Savonnerie in France was chosen for the floor, and a pair of French Empire gilt bronze andirons for the fireplace.

The three openings are symmetrically arranged and equally proportioned and articulated: a simple surround with a keystone frames a wide arch, opening out to a balcony through wooden jalousie doors. Decoratively etched clear glass lights occupy the tympanum over each opening. The first and third bay balconies contain waist-high decorative cast-iron railings and the wider central balcony consists of stone balusters and rails supported by the caryatid figures of the ground floor. A full-entablature cornice and solid parapet cap the facade composition.

A smaller court theater, now Teatro Lirico, was built closer to Palazzo Reale by demolishing a nearby school. As per the interior work, the rooms was repurposed to meet the archduke's requests. The most notable modification is the creation of the famous Hall of Caryatids (named after 40 caryatid sculptures by Gaetano Callani.) At the same time, the ducal chapel of San Gottardo was provided with a new altar and fully redecorated in neoclassical style. Only the bell tower was preserved without changes, being considered a model of architectural beauty by Azzone Visconti.

The latter was rebuilt during the 12th century, showing the artistic originality developed by the Plantagenet court. The choir include ogive vaults and the former building was completely redesigned, trying to make the maximum use of space in the old building. Between each window is a caryatid resting on a half-column. These show figures from the Old and New Testaments and may be the first of their kind, before the Plantagenets popularized them throughout their lands in Maine and Anjou - previously column-statues were more common in doorways than interiors.

The Parthenon, on the Acropolis of Athens, Greece The Caryatid porch of the Erechtheion in Athens Greek temples (, semantically distinct from Latin , "temple") were structures built to house deity statues within Greek sanctuaries in ancient Greek religion. The temple interiors did not serve as meeting places, since the sacrifices and rituals dedicated to the respective deity took place outside them, within the wider precinct of the sanctuary, which might be large. Temples were frequently used to store votive offerings. They are the most important and most widespread building type in Greek architecture.

The term atlantes is the Greek plural of the name Atlas—the Titan who was forced to hold the sky on his shoulders for eternity. The alternative term, telamones, also is derived from a later mythological hero, Telamon, one of the Argonauts, who was the father of Ajax. The caryatid is the female precursor of this architectural form in Greece, a woman standing in the place of each column or pillar. Caryatids are found at the treasuries at Delphi and the Erechtheion on the Acropolis at Athens for Athene.

260x260px The construction of the drum is unique; in the manner of its construction, the use of symbols, and even the colors used to decorate it. The drum itself has two main stylistic regional influences, the first being Western Sudanic, and the second being from the Guinea Coast. The drum is carved from a single piece of wood, made into a large vase shape and carved in bas-relief. The drum is supported by seated female who appears similar to Greek caryatid figures that would take the place of columns supporting entablatures upon their heads.

The British Museum in Bloomsbury is home to one of the Caryatids, a statue of a maiden that acted as one of the six columns in a temple which stood on the Acropolis in ancient Athens. Lord Elgin had brought her to London in the nineteenth century, and even though now she was over 2,300 years old, she was still rather beautiful - and desirable. Which is why Lord Francis Powerscourt finds himself summoned by the British Museum to attend a most urgent matter. The Caryatid has been stolen and an inferior copy left in her place.

In 1987, Galina Kakovkina with friends established the creative association "Cherny Prud". In 1990, Galina Kakovkina took part in big projects "Drugoe pokolenie" ("Other generation") and "Drugoe pokolenie-2" ("Other generation-2"), that gathered the best artists from the Volga region, whose creative work was out of the system of "socialistic realism". Authors of the project were Lubov Saprykina and Anna Gor (art directors of the "Caryatid" gallery, later of the Nizhny Novgorod branch of the State Centre for Contemporary Art). Exhibitions took place in Moscow (Central House of Artist), Nizhny Novgorod (Nizhny Novgorod State Art Museum).

The front side was done in his workshop, partially by Nicola Pisano himself but mostly by his assistant Lapo di Ricevuto. The rectangular sarcophagus was originally borne on caryatid figures. When the Ark was later redesigned, these supports were dispersed and are now tentatively identified in several museums: the archangels "Michael" and "Gabriel" (in the Victoria and Albert Museum, London), the statue "Faith" (Louvre, Paris), a group of three deacons (in the Bargello, Florence) and a similar group in the Museum of Fine Arts, Boston. The sarcophagus was relocated in the middle of the church in 1411.

Caryae was celebrated for its temple of Artemis Caryatis, and for the annual festival of this goddess, at which the Lacedaemonian virgins used to perform a peculiar kind of dance.Lucian. de Salt. 10; This festival was of great antiquity, for in the Second Messenian War, Aristomenes is said to have carried off the Lacedaemonian virgins, who were dancing at Caryae in honour of Artemis. It was, perhaps, from this ancient dance of the Lacedaemonian maidens, that the Greek artists gave the name of Caryatid to the female figures which were employed in architecture instead of pillars.

The Batiz Residence was built in 1897 by the renown engineer Manuel Domenech for the Mayor of the City of Ponce, Don Pedro Juan Rosaly. A native of Ponce, Domenech graduated from the prestigious Rensselaer Polytechnic Institute of New York and was responsible for many of the island's most lavish turn-of-the-century buildings. Among Domenech's other designs are the Caryatid House (1910) which faces the Ponce Cathedral and the "Asilo de Pobres" (listed in the National Register on 2 December 1985). Domenech was also Mayor of the City of Ponce and held many governmental positions in Puerto Rico.

In rebuilding the interior of the house after the fire of 1861, Salvin followed Blore's design in some of the rooms, and in others he used his own designs. The Entrance Hall very much follows Blore's design. It has a panelled ceiling with pendants, and the windows contain 19th-century stained glass arranged by Willement, featuring the arms of the Davenport and Ward families. The chimney piece was added by Salvin, and contains the figures of a caryatid and an Atlas that were formerly part of the reading desk of the two-decker pulpit in the chapel.

As for the design of the caryatid figure, one can observe scarification marks on her face and abdomen; along with bracelets and carefully styled hair indicating high community status. The woman figure is further depicted as seated on four-legged stool reflecting a position of honor within the community, while the calm expression denotes the acknowledgement of the responsibility that she has within the community. This observation is derived from the fact that women are seen as the "preservers of life" within Senufo communities. They are seen as those that hold up the structure and spirituality, which govern their world.

This plane rests on six pairs and four single pilasters, each of which is capped by a caryatid, and between which are clerestory windows. Below the windows is a continuous architrave, broken only by baldachins at the base of each of the above pilasters. Gold leaf and painted coffers of the Senate chamber ceiling On the chamber's east and west walls are eight murals depicting scenes from the First World War. Painted in between 1916 and 1920, they were originally part of the more than 1,000 piece Canadian War Memorials Fund, founded by the Lord Beaverbrook, and were intended to hang in a specific memorial structure.

In 1923 Henri Lechat published an inventory of the collection of casts of the Lumière University Lyon 2 where he described the statue as "the upper part of a statue of Aphrodite ... clad in the Ionian fashion... a kore, specifically a goddess by the polos on her head and identified as Aphrodite by the done in her right hand." But Pane refuted this hypothesis, arguing that the polos is not strictly a divine attribute and restated the hypotheses that it was a caryatid on account of a hole present at the top of the head for the attachment of a tenon, or a votive statue on account of its small size.

The drum in Senufo communities has many uses from ritual agricultural events, commemorating competitions, to being played to honor women of status at their funerals. The symbols and construction of the drum show the importance of divination within Senufo Society and of the role of women. The drum itself is a visual demonstration of how women and divination are intertwined tying to its construction as well as its use. While the majority of Membranophone drums are associated with males for agricultural competition based purposes and some ceremonial occasions, caryatid drums such as this one, are notable for their playing by women for funerary commencement within the Sandogo and the Poro Societies.

A ditch for the front curtain probably belongs to this phase too (in ancient theatres these did not fall from above, but rose from below). The traces of an element on which columns and pilasters must have stood have been interpreted as the remnants of a small mobile stage for Phlyax plays. A statue of a caryatid now preserved in the Museo archeologico regionale Paolo Orsi, which contains material excavated and recovered in the theatre, probably formed part of the theatre's decoration. Above the theatre there is a terrace, excavated in rock, accessible by a central stairway and by a recessed path, known as "Via dei Sepolcri" (Street of the Tombs).

The village name of Karyes has carried from ancient times as there has been an abundance of walnut trees since then. Various objects and fragments which were found during digging, have provided physical evidence for the ancient settlement in Karyes and the caryatid monument is said to be currently positioned in the place of the ancient acropolis of Karyes. During the years before Christ, the people of the Peloponnese were polytheistic and worshipped many Gods, Goddesses and various nymphs, which explains the worship of goddess Artemis in this area. The Peloponnese consisted of a lot of different municipalities, Tegea, Arcadia, Messinia, Laconia (including the city of Sparta) and they all had their own heads of state.

Although of the same height and build, and similarly attired and coiffed, the six Caryatids are not the same: their faces, stance, draping, and hair are carved separately; the three on the left stand on their right foot, while the three on the right stand on their left foot. Their bulky, intricately arranged hairstyles serve the crucial purpose of providing static support to their necks, which would otherwise be the thinnest and structurally weakest part. The Romans also copied the Erechtheion caryatids, installing copies in the Forum of Augustus and the Pantheon in Rome, and at Hadrian's Villa at Tivoli. Another Roman example, found on the Via Appia, is the Townley Caryatid.

The Korai of Ionia were statues depicting female figures (korai), or Caryatids, and belonged to the collection of Ionian treasuries of the Oracle of Delphi. Already from the middle of the 6th century BC begins the construction of the first Ionic temples with statues of elegant girls on their façades which radiate a feeling of the East, brought from the coast of Asia Minor. The beautiful kore, who raises with her left hand the sheer, long and pleated chiton (tunic) and dates back, as the oldest one, to around 550 B.C. is attributed - with some doubt, however - to the Treasure of Knidos in Asia Minor. Another kore/Caryatid stands out for its solid smirk on her face and the beautiful almond-shaped eyes.

The boiseries, still often dated in the mid-1760s, were discussed in the issue of L'Avant-coureur for 21 January 1761, and so must have been carried out about 1758–59Eriksen 1974:298 and pl. 35). The Hôtel in the Marais district remodelled for Claude-Charles- Dominique Tourolle survives (the rue d'Orléans is now the rue Charlot) but the salon's boiseries and chimneypieces were removed in the mid-nineteenth century to a house in the rue du Faubourg Saint-Honoré now in the possession of the Cercle Interallié. Round-arched mirrors over the chimneypieces and centering the long wall in a shallow recess are disposed in a system of stop-fluted Ionic pilasters. White marble draped caryatid therm figures support the chimneypiece's tablette.

The Parthenon Marbles acquired by Elgin include some 21 figures from the statuary from the east and west pediments, 15 of an original 92 metope panels depicting battles between the Lapiths and the Centaurs, as well as 75 metres of the Parthenon Frieze which decorated the horizontal course set above the interior architrave of the temple. As such, they represent more than half of what now remains of the surviving sculptural decoration of the Parthenon. Elgin's acquisitions also included objects from other buildings on the Athenian Acropolis: a Caryatid from Erechtheum; four slabs from the parapet frieze of the Temple of Athena Nike; and a number of other architectural fragments of the Parthenon, Propylaia, Erechtheum, the Temple of Athene Nike, and the Treasury of Atreus.

Several of the statues and sculptures from antiquity are disfigured, headless or mutilated, likely by Christian zealots in late antiquity Troels Myrup Kristensen: Making and Breaking the Gods: Christian Responses to Pagan Sculpture in Late Antiquity during the persecution of pagans in the late Roman Empire. The public buildings uncovered at the city site of Salamis date to the post-Classical period. The Temple of Zeus Salaminios, whose cult was established, according to tradition, by Teucer himself, must have existed since the foundation of the city; the extant remains date to the late Hellenistic period. Early excavators discovered in the esplanade of the Temple of Zeus an enormous marble capital carved on each side with a caryatid figure standing between the foreparts of winged bulls.

The entrance to the cave has columns resting on seated lions, which is a typical Pallava style of rock-cut architecture. There are six lion based pillars on the front façade of the cave, apart from two pilasters at both ends abutting the rock. As compared to other caves there is an improvement in the layout and the architectural elements that have been carved in the cave. One is the circumambulatory passage around regular structural temples in South India and the other feature is provision of brackets with lion caryatids over the pillars forming the facade; each caryatid consists of three lions one facing to the front and the other two facing to the sides without a lion on the backside.

That collection was accumulated before 1923 in what is now the Democratic Republic of the Congo, and includes a distinctively shaped Kuba box and a rare double caryatid headrest from the Chokwe people. More recent gifts have been made by Perry E.H. Smith, including a Chokwe chair, and by H. Kelly Rollings, among whose gifts is an emblem of the Leopard Society, a notable example of an accumulative object from the Cross River region. A 1998 bequest of John B. Elliot includes many objects of daily use and adornment, as well as Akan gold pieces, from a linguist's staff to a chief's bracelet. In 2003, a Yoruba stool was acquired, considered a sculptural masterpiece that served as the focus of devotion to the god Esu.

The question of the architectural function of the Kore of Lyons was solved by Brunilde Sismondo Ridgway in 1986; the upper part of the polos has some characteristics typical of caryatids, which Payne did not observe directly, but only through casts sent to Athens. The sculpture has a nick on the upper part for a tenon, supporting the theory of an architectural role. Another element supporting this conclusion is the reversal of the diagonal himation (going over the left rather than the more usual right shoulder) which is typical of mirrored pairs rather than isolated works. In addition the origin of the Ionian influence detected in the style of the work matches the near eastern origin of the caryatid as an architectural feature.

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.

Through painting and the hybridization of art and craft she has introduced a dialogue with the past that has enlivened the contemporary world art scene. Her ceramic sculptures include monumental candelabras heavy with historical references suggesting the weight of ceramic styles on chaotic post-modern lighting and living. Her totems reference Greek Caryatids carried into a present rethinking of the weight women bear today.A large monstrous 9-foot tall piece, She-Wolf (2018), evokes Yeats’, The Second Coming with its ending …” And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?” The Caryatid works “exemplify this penchant for hybridity, each one encapsulating several oppositions between masculine and feminine, playful and serious, contemporary and ancient, high culture and low”(Fullerton).

As a result of his extensive financial relations with the Danish government, Mr. Armstrong was conferred the high honor of the "Danabru Order" of Denmark and was named Danish Consul to Puerto Rico. Architecturally speaking, the Armstrong-Toro Residence is significant in the history of Ponce because it is one of Domenech's most distinguished eclectic designs and probably the best known. Its unique caryatid-framed main entrance, its intricate ornamental details and its location upon the most prominent lot in the city of Ponce (across from the Cathedral and public plaza) have made this house a true architectural landmark in the city's traditional urban core. As a result, many houses were built during the early 20th century with similar elements in a similar vocabulary, contributing to the unique historic district of Ponce.

In 2012 the first ever exhibition from the private collection of Hillela Tal of Israeli art was opened at the Negev Museum of Art, with works by renowned artists Moshe Gershuni, Moshe Kupferman, Lea Nikel, Buky Schwartz, Nahum Tevet, Igael Tumarkin, Aviva Uri, and others.Unknown art collector reveals treasure trove of Israeli paintings It was followed by a solo show of Sigalit Landau, 'Caryatid', consisting of installations, sculptures and video and sound works. In 2013 the museum exhibited a solo show of photographs by internationally renowned artist Micha Bar-Am consisting of photos taken in the south of Israel from the 1950s to the 2000s. In October 2013, to mark the 40th anniversary of the Yom Kippur War a historic group exhibition on the theme of memory and bereavement in Israeli art was opened.

In a similar commission, this time under the direction of Flaminio Ponzio Buzzi was one of the team of sculptors working in the Basilica di Santa Maria Maggiore on the funerary Pauline Chapel commissioned by Paul V Borghese, 1611.TCI Roma e Dintorni 1965:347. Ponzio was somewhat constrained in his architectural framing by the necessity of making the architecture correspond to the chapel facing it across the nave, of Sixtus V Peretti, by Domenico Fontana, completed in the previous generation. Here Buzzi contributed one of five relief panels illustrating Scenes of the Pontificate of Paul V and one of those beneath the papal tomb, where Pietro Bernini was responsible for another panel and the caryatid figures, while Buzzi's countryman Silla executed the sculpture of Paul V blessing.

It was one of the numerous Korai of the Acropolis of Athens discovered during the construction of the old Acropolis Museum in the Perserschutt, a layer of destruction from the Persian Wars, containing material from the 570s BC down to the end of the sixth century BC. It represents the first example of the Ionian influence which entered Attic sculpture in the second half of the century and first use of Ionian costume in Attica. The Kore of Lyons is of the generation after the oldest Kore discovered on the Acropolis, Acropolis 593, and represents the beginning of the new phase of Attic sculpture beginning in the third quarter of the sixth century. The Kore of Lyons has been suggested to have had an architectural function as a caryatid or a votive function.

A room on the east side was wainscoted and panelled in a plain style; a long window extended the whole length of the east end of the apartment, and a thick beam crossed the ceiling, supported at each end by rude pieces of timber. The fireplace was highly enriched by caryatid figures, and carved work of oak-foliage in low relief ornamented the stone mantle. The fireplace in the apartment immediately under this on the basement floor was ornamented. The upper rooms were lofty and airy, the space usually divided off into lofts being open to the roof—showing the heavy beams and girders in all their rude simplicity, the windows small and near the roof, the doorways narrow and low, and formed roughly of unplaited boards—opening by a wooden latch and spring.

Amedeo Modigliani - Caryatid The Garman Ryan Collection is a permanent collection of art works housed at The New Art Gallery Walsall and comprises 365 works of art, including prints, sketches, sculptures, drawings and paintings collected by Kathleen Garman (later wife of the sculptor Jacob Epstein) and lifelong friend Sally Ryan. Sorrow The Garman Ryan collection features many examples of works by key European artists of late 19th and early 20th Century, including Van Gogh, Picasso, Monet, Turner and Degas. There are a high number of works on paper within the collection and a number of sketches relating to major works by European artists, such as Delacroix's charcoal sketch of a New Born Lamb. It also includes a selection of sculpture, vessels and votive objects from cultures in Africa, Asia and South America.

Capping the room is a gilt ceiling with deep octagonal coffers, each filled with heraldic symbols, including maple leaves, fleur-de-lis, lions rampant, clàrsach, Welsh Dragons, and lions passant. This plane rests on six pairs and four single pilasters, each of which is capped by a caryatid, and between which are clerestory windows. Below the windows is a continuous architrave, broken only by baldachins at the base of each of the above pilasters. On the east and west walls of the chamber are eight murals depicting scenes from the First World War; painted in between 1916 and 1920, they were originally part of the more than 1,000 piece Canadian War Memorials Fund, founded by the Lord Beaverbrook, and were intended to hang in a specific memorial structure.

It was finally sold by Thomas Duncombe's descendant Charles Anthony Peter Duncombe, 6th Baron Feversham, in 2001. The Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston had attempted to purchase it (the sculpture had been shown in the US in the 1980s), at the price of $950,000, but the granting of an export licence was deferred by the UK government. The Heritage Lottery Fund, National Art Collections Fund, British Museum Friends, Duthie Fund, Ready Bequest, Caryatid Fund, Mrs Barbara G. Fleischman, Mr Frank A. Ladd and the Ready Bequest had already pledged funds to help "save it for the nation". With the sculpture on temporary display in its Great Court, the delay on the export allowed the British Museum enough time to raise the remaining £662,297 through a public appeal, and thus to acquire it permanently.

Cour Carrée illustration. Even so, the building was executed from 1546 to 1551 set the mold of French classicism: it is of two stories with an attic richly embellished with Jean Goujon's panels of bas-reliefs; it is crowned by a sloping roof, a traditional feature of French building and practical in a rainy climate. The deeply recessed arch-headed windows of the ground story give the impression of an arcade, while the projecting central and end pavilions bear small round oeil de boeuf windows above them. In the second storey slender fluted pilasters separate the windows, which alternate delicate triangular and arched pediments. Goujon's noble sculpture and architectural ornaments are cleverly subordinated to the construction, but the surviving groundfloor Salle des Caryatides (1546-49) is named for Goujon's four caryatid figures that support the musicians' gallery.

Late Baroque caryatid and atlantid hemi-figures at Sanssouci, Frederick the Great's summer palace at Potsdam In the 16th century, from the examples engraved for Sebastiano Serlio's treatise on architecture, caryatids became a fixture in the decorative vocabulary of Northern Mannerism expressed by the Fontainebleau School and the engravers of designs in Antwerp. In the early 17th century, interior examples appear in Jacobean interiors in England; in Scotland the overmantel in the great hall of Muchalls Castle remains an early example. Caryatids remained part of the German Baroque vocabulary and were refashioned in more restrained and "Grecian" forms by neoclassical architects and designers, such as the four terracotta caryatids on the porch of St Pancras New Church, London (1822). Many caryatids lined up on the facade of the 1893 Palace of the Arts housing the Museum of Science and Industry in Chicago.

Indian art also found its way into Italy, within the context of Indo-Roman trade: in 1938 the Pompeii Lakshmi was found in the ruins of Pompeii (destroyed in an eruption of Mount Vesuvius in 79 CE). The rarity of parallels has resulted in disputes as to the origin and date of the ivories, although the stratigraphy would suggest a date no later than the 2nd century. The building itself in which the ivories were found has been dated to the 1st century CE. The Pompeii Lakshmi, a caryatid found in the Via dell'Abbondanza in Pompeii with a Kharosthi fitter's mark provides further evidence of long-distance trade in Indian furniture decorated with ivory. This could also mean that she might have originated from the northwestern region of India, and manufactured in local workshops around the area of Gandhara.

In some of the tables, instead of columns, a sort of caryatid — female half-figure, neither exactly sphinx nor monster, dressed out in straps and ending in rude scrolls — formed the support at each of the four corners. The tables thus upheld were mighty constructions, sometimes they can be pulled apart in an extension, but oftener bound by firm crossbars and almost immovable through their weight. In the cabinets the lower part was usually a closed cupboard, paneled and ornamented, with terms between the different divisions, the figure issuing from the vase being now a head only, and now two-thirds of the whole; the top projected, and was upheld by the big columns; and all the surfaces were enriched with sculptures after the approved fashion. Of the bedsteads with heavy canopies and cornices, the Great Bed of Ware follows the styles, although it is a caricature in size.

The gueridon, a tall stand for a candelabrum, offered Brustolon unhampered possibilities for variations of the idea of a caryatid or atlas: the familiar Baroque painted and ebonized blackamoor gueridons, endlessly reproduced since the eighteenth century, found their models in Brustolon's work. His secular commissions from Pietro Venier, of the Venier di San Vio family (a suite of forty sculptural pieces that can be seen in the Sala di Brustolon of the Ca' Rezzonico, Venice), from the Pisani of Strà, and from the Correr di San Simeone families encourage the attribution to him of some extravagantly rich undocumented moveable furniture. Andrea Brustolon's elaborate carved furniture aspired towards the condition of sculpture, such as the Dutch bases for console tables which look like enlargements of the work of the two Van Vianens, Paulus and Adam, perhaps the greatest Dutch silversmiths of the period. These carved pieces display the baroque tendency to develop a form three-dimensionally in space.

Example of bas-relief carving on a door by the KulebeleThe drum itself is classified as a Membranophone meaning that the sound is produced by creating a vibration in the membrane, or drum head. The membrane or drumhead is made from an unknown hide, affixed by seven wooden pegs, to a wooden drum indicative of the Kulebele wood carvers; a Senufo group known for traveling to work on location for their patrons. The drum is a rare find, and until 1993 there was only one other recorded and observed case of a drum with such a closely related style, and similar female caryatid figure. As of now, there are at least two other drums which share a likeness to the one located at the Art Institute; the first being located in the National Museum in Abidjan, Ivory Coast; the second, located, whose existence is only evident by a 1981 photograph taken in a Kasembele village neighboring the Mbengue Kulebele sculptors.

The building is constructed of concrete, with an exterior cladding of pink granite, and consists of a massed square superstructure with typically Art Deco setbacks and buttresses, punctuated on each side by a large arched window of yellow stained glass, and crowned with a ziggurat-inspired stepped roof. It is positioned atop a cruciform pedestal within which are located administrative offices and a small museum. The interior is largely faced in white marble, and features a domed ceiling adorned with 120,000 gold stars – one for each of those men and women from New South Wales who served during World War I. Access to the main hall is provided via broad stairways on each side of the building's north–south axis, while ground-level doorways on the east and west sides offer entry to the lower section. The main focus of the interior is Rayner Hoff's monumental bronze sculpture of a deceased youth, representing a soldier, held aloft on his shield by a caryatid – three female figures, representing his mother, sister and wife.

The British Museum holds two prints by John June after Augustine Heckel: Harrowing the Ground and Laying the Ground smooth & even for the Rice, by a second Harrowing, dating from about 1775. The Victoria and Albert Museum holds: Heckel's A New Book of Sheilds [sic] usefull for all sorts of Artificers, an etching on paper dating from 1752; a gold box engraved by Heckel; a drawing of a design, dating from about 1740, described as being "for a cartouche with an acanthus leaf architechtonic frame surmounted by vases and supported by a caryatid in the form of a winged putto"; and a print from 1750–70, A Select Collection of the most beautiful Flowers, Drawn after Nature by A. Heckell; disposed in their proper Order in Baskets: Intended either for Ornament or the Improvement of Ladies in Drawing and Needlework. Heckel's The Battle of Culloden (1746; reprinted 1797) is held by the National Galleries of Scotland. His colour engraving of The Countess of Suffolk's House (1749) is held at Marble Hill House, Twickenham, London.

DiMattio takes traditional aspects of femininity and adds different components to the design of the sculpture.“Despite the show’s title, one was immediately struck by the fact that these figures had been liberated from their traditional role as architectural supports”(Fullerton). The layering in her work is not only visual but also figurative, for example the freeing of the caryatid can be looked at as freeing the female body of traditional view. DiMattio also creates paintings that “take architecture as their subject as a means to restructure the concept of space”(Saatchi). In her paintings Ladder and Broken Arch at the Saatchi Gallery,“elements collide into each other, become entangled, and co- exist—complicating our understanding of perspective and space. Her work seems to exist somewhere in between the abstract and the figurative”(Saatchi). In Boston, DiMattio has transformed the Sandra and Gerald Fineberg Art Wall with a complex composition made up of five large-scale canvases. Drawing inspiration from the ICA’s dramatic architecture and waterfront setting, Banquet combines interior and exterior space and incorporates images of ships and the sea.

As viewed from the lord of the manor's position at the head of the stairs, the ten bridesmaids are arranged symbolically: they are distributed with the bad bridesmaids to the left and the good bridesmaids to the right. The manor layout is designed to emphasize the lord of the manor's role as a Chancellor, as the King's representative and thus as God's deputy in the country and on the estate. The parable of the bridesmaids in Matthew's Gospel,Matthew 25:34 f ends with a speech: "Then shall the King say unto them on his right hand: 'Come, you who are blessed by my Father'." and "Then shall he say to those on the left hand, 'Depart from me, ye cursed…'" Similarly the location of the caryatid-like figures from the Old Testament also emphasizes who the lord of the manor sees as his peers: the lawmaker, the military leader and the prophet are at his level and to his right. The pyramid at Austrått There is an inscription in Latin over the main door, inside the gallery: With God's help Ove Bjelke has committed to preserve this edifice for his heirs.