The room around her buzzed quietly with activity, as Dior's seamstresses stitched Chiuri's folds and foliate decorations.
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Obama sits against one of Wiley's trademark foliate backgrounds, but these particular flowers allude to the former president's biography.
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On her right hand, she wore a gold foliate ring set with a large amethyst cabochon that matched her shift dress.
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One set, headlined by a gold foliate brooch studded with many kinds of semiprecious stones, once belonged to a Florentine principessa.
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WASHINGTON — Mahmoud Abbas, the Palestinian leader, greeted President Trump in February 2017 with a portrait of the American president on mother-of-pearl panels, framed in white floral foliate.
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Made from creamy synthetic scuba knit — which holds shape very well — it has a 20-foot train painted and printed with slightly pixelated gold foliate pattern based on a sketch by Mr. Lagerfeld.
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A Louis XV frame, described by experts as having "pierced scrolling foliate & rocaille corners with diapered ground & floral rinceaux," had a daintier effect than a Louis XVI frame, made stately by the addition of a cartouche.
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In "Sometimes It's All I Want" (1995) Berthot's red oval erupts, bleeding downward in ribbon-like patterns, as if the form had been ruptured or punctured while couched in its life-affirming bed of foliate greens.
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He fashioned the bases and capitals for ancient columns of exquisitely colored and textured porphyry excavated in Rome; the foliate mounts for vases of granite or alabaster; and the bases, trim and other additions that made already breathtaking Chinese ceramics even more extraordinary.
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Papillitis refers to inflammation of the papillae, and sometimes the term hypertrophy is used interchangeably. In foliate papillitis the foliate papillae appear swollen. This may occur due to mechanical irritation, or as a reaction to an upper respiratory tract infection. Other sources state that foliate papilitis refers to inflammation of the lingual tonsil, which is lymphoid tissue.
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Dorsally black, white and grey cryptic markings all over the legs and body. Carapace has two black lines. Opisthosoma has a light grey foliate median band runs the entire length of opisthosoma. Inside large foliate markings, there is a slightly darker median band.
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Magnified diagram of a vertical section through some foliate papillae in a rabbit. Foliate papillae are short vertical folds and are present on each side of the tongue. They are located on the sides at the back of the tongue, just in front of the palatoglossal arch of the fauces, There are four or five vertical folds, and their size and shape is variable. The foliate papillae appear as a series of red colored, leaf–like ridges of mucosa.
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Foliate papillae are fairly rudimentary structures in humans, representing evolutionary vestiges of similar structures in many other mammals.
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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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The decorated initials have extensions into the margins of the page. There are also some smaller decorated initials which include human heads, which are also painted in colors and gold. There are also smaller gold initials on red and blue grounds, smaller gold initials with purple foliate pen flourishes and smaller blue initials with red foliate pen flourishes.
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Cerautola fisheri is a butterfly in the family Lycaenidae. It is found in Zambia. The larvae feed on algae and foliate lichen.
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Pilasters separate the window openings on the third and fourth floors. There are also foliate belt courses that run horizontally along the facade.
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Foliate is a free e-book reading application for desktop GNU/Linux systems. The name refers to leaves, meaning "(getting) leafy" or "…-leaved".
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The projecting end wings of the building also contain geometric and foliate stylized panels, described in a 1916 article from The Courier-Journal as tapestries.
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Their capitals are more vegetative than is typical for the Composite order, with thick acanthus leaves at the volutes. Above each, foliate paired brackets support the roof.
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The interior is as unified as the exterior. Clustered piers rise to foliate capitals, the foliage more stylized here than on the naturalistic capitals of several decades before.
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The drawing room is finished in an extravagant rococo mode with extensive pargeting. On the east side, the dining room cornice matches that in the hall, while the ceiling pargeting is a series of bands of various foliate motifs. Its fireplace features a double mantelpiece and oversized Ionic columns. The open cantilevered spiral staircase is balustraded with simple turnings contrasting with an intricate foliate carving on the step area of the stringer.
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A full-screen mode and an optional traditional title bar can be activated. In skeuomorphic mode, Foliate mimicks the look of a traditional paper book. Foliate supports speech synthesis using eSpeak, eSpeakNG or Festival, albeit without automatic detection of the content language. A full-text search is available (also for annotations), as well as word lookup (in Wikipedia and Wiktionary or offline dictionaries via a dictd interface) and integration of Google Translate.
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Foliate projectile points have been uncovered there that meet the original definition and more recent refinements of the Cascade point type associated with a late early Holocene and middle Holocene occupation.Cascade Points in the Northern Great Basin: A Radiocarbon- dated Foliate Point Assemblage from Warner Valley, Oregon. By GM Smith ; P Carey ; ES Middleton ; J Kielhofer A projectile found lodged in the hip of Kennewick Man was leaf-shaped, long, broad and had serrated edges.
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The west façade of the church is dominated by a rose window and an arcaded portico. The portico features stone columns with foliate Byzantine capitals, corbelled frieze and a tile roof.
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The Book of Haggai has large 13th-century flourished initial (folio 391v). In all there 79 extant large historiated initials. The beginnings of the prologues have large zoomorphic and foliate initials.
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It is a sprawling perennial herb, woody at the base, the herb being up to or more in diameter and up to 1m tall. Its stem diameter ranges between at the base, not hollow in age, green, minutely puberulent with simple, uniseriate, stiff 1–2-celled trichomes. Sympodial units are 2-foliate (sometimes 3-foliate); internodes between . Its leaves are interrupted imparipinnate, bright green, minutely pubescent with stiff simple uniseriate trichomes like those of the stems.
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Although the letter decoration is essentially Insular in style, the figure shows Mediterranean influence, as do other elements of the illuminations, such as the foliate decoration filling in the B shown above.
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Mihzar b. Ahmad al-Kasadi. The masjid has three rows of transverse, east-west piers, and a foliate mihrab. It also has attached chambers, with the Sheikh's tomb situated in an adjacent room.
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Harding references a foliate head from an 8th-century Jain temple in Rajasthan. There are early Romanesque foliate heads in 11th century Templar churches in Jerusalem. Harding tentatively suggests that the symbol may have originated in Asia Minor and been brought to Europe by travelling stone carvers. From the Renaissance onwards, elaborate variations on the Green Man theme, often with animal heads rather than human faces, appear in many media other than carvings (including manuscripts, metalwork, bookplates, and stained glass).
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The arcades are carried on octagonal piers. The ceilings are plastered, the nave ceiling being decorated with foliate bosses. The floors are flagged. The baluster-shaped font was made in 1775 by Richard Hayward.
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Foliate baluster columns with naturalistic foliate capitals, unexampled in previous Indo-Islamic architecture according to Ebba Koch, rapidly became one of the most widely used forms of supporting shaft in Northern and Central India in the eighteenth and nineteenth centuries.Ebba Koch 1982:251–262. The modern term baluster shaft is applied to the shaft dividing a window in Saxon architecture. In the south transept of the Abbey in St Albans, England, are some of these shafts, supposed to have been taken from the old Saxon church.
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Within the tower, at the twenty-fifth floor, a double-height library features large ceiling beams supported by brackets painted with stenciled foliate designs. The library's high, arched windows offer stunning views of the Manhattan skyline.
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Both the dormer gables and the braces at the main gable peaks are braced with wood in a lacy foliate pattern, more intricate at the gable peaks than the dormers. The latter have visible rafter ends.
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Enzyme release is signaled by autonomic nervous system after ingestion, at which time the serous glands under the circumvallate and foliate lingual papillae on the surface of the tongue secrete lingual lipase to the grooves of the circumvallate and foliate papillae, co-localized with fat taste receptors. The hydrolysis of the dietary fats is essential for fat absorption by the small intestine, as long chain triacylglycerides cannot be absorbed, and as much as 30% of fat is hydrolyzed within 1 to 20 minutes of ingestion by lingual lipase alone. Lingual lipase, together with gastric lipase, comprise the two acidic lipases.
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This image featured a procession in which three garlands of metal objects are in the foreground, but in the background of the image is something that resembles a foliate Jack in the Green. A clearer depiction of a Jack in the Green was featured in a 1795 engraving, perhaps by Isaac Cruikshank, which included the foliate figure alongside a fiddler with a wooden leg, a man, and a transvestite; in the background are dancing chimney sweeps. This evidence reflects that while the Jack in the Green was brought out at May Day events, where chimney sweeps were also regularly present, the Jack in the Green itself was not yet closely associated with the sweeps, as it would become in the following century. Judge suggested that it would have been "neatly appropriate" had the foliate Jack in the Green been developed by greengrocers or members of another trade that worked closely with fauna, however he noted that there was no evidence for this.
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It contains a ring of eight bells, two of which are medieval. The font dates from the 12th century. It consists of a circular bowl with cable moulding, and a circular stem with foliate moulding on the base. It was restored in 1907.
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It contains a ring of eight bells, two of which are medieval. The font dates from the 12th century. It consists of a circular bowl with cable moulding, and a circular stem with foliate moulding on the base. It was restored in 1907.
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Along the cornice line are large cast panels of foliate ornament. Above the center arch, in the copper downspout header boxes, the year "1892" is impressed. It also features high pitched roofs and steep dormers. Since its construction, the building has been remodeled.
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It is a "boxy mass" designed in the mode of an Italian palazzo. The first two floors of the exterior facade are of rusticated limestone, with tan or gray brick above and a crowning story of foliate terra cotta capped by a copper cornice.
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The 5-story, 3-bay Italianate style cast-iron front facade was originally composed of superimposed arcades, with a 2-story arcade capped by an intermediate modillioned foliate cornice, surmounted by a 3-story arcade. The arcades are formed by elongated fluted Corinthian columns (most of the capitals’ leaves are now missing); rope moldings, which also surround the spandrel panels; molded arches with faceted keystones and molded paneled reveals; and foliate spandrels. The ground floor was first altered in 1919. Between the second and third floors the building featured a series of wreath-encircled portraits of George Washington and Benjamin Franklin cast, like the rest of the facade, in iron.
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Taste buds, the receptors of the gustatory sense, are scattered over the mucous membrane of their surface. Serous glands drain into the folds and clean the taste buds. Lingual tonsils are found immediately behind the foliate papillae and, when hyperplastic, cause a prominence of the papillae.
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Although the Skyscraper features abstracted foliate, sunbursts, and other geometric designs around its doors and windows, the most striking feature of the building's exterior is its guardian angels. The two towering statues at the entrance represent the angels Uriel ("Light of God") and Jophiel ("Beauty of God").
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Pews with foliate moldings on their scrolled, curved handrails, surround it on three sides. The walls and ceiling are finished in wallboard with applied battens. A narrow strip old wooden molding makes a course around the interior at windowsill level. The ceiling has exposed wooden trusses.
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Plate from Hamilton Herbert Druce's Illustrations of African Lycaenidae, figures 1-4: Falcuna, Liptena, Cephetola and Geritola are Poritiinae Plate from Illustrations of African Lycaenidae genus Pentila Poritiinae is a subfamily of butterflies, the larvae of which are unusual for feeding on algae and foliate lichen.
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Below the railing are two fielded panels with foliate relief. On the upper stories, there are brownstone windowsills and courses around the house. Other ornaments include an oriel window on the second story, pentagonal dormer on the third, and a parapet roofline. The interior remains intact.
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The gustatory system consists of taste receptor cells in taste buds. Taste buds, in turn, are contained in structures called papillae. There are three types of papillae involved in taste: fungiform papillae, foliate papillae, and circumvallate papillae. (The fourth type - filiform papillae do not contain taste buds).
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Victoria and Albert Museum. Retrieved 28 October 2019 and decorated with foliate designs. It stands on a silver plinth with pierced quatrefoils, and topped by a cherub's head and a statuette of God the Father. It is thought the silver-work was added between 1550-1570.
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Opposite it, across the central hallway, is the main staircase. At its landing is a multilevel stained glass window, with urns, foliate and architectural motifs flanking a central panel with another quotation from Lincoln: "Go forward without fear and with manly heart." Near the top is "A.D. 1919".
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Although originally a saat-mahala house the most intact of the remaining spaces is the courtyard with the thakurdalan. A saat khilan thakurdalan with multi-foliate arches supported on pairs of squared pilasters. Pairs of columns with plain shafts rise up between the arches to support the entablature above.
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The more numerous group comprises 110 initials with slender strokes adorned with graceful foliate tendrils. Their design is based on the decorative tradition of Cyrillic manuscripts, as well as on Renaissance floral motifs.Mano-Zisi 2008b, p. 294 A majority of them are printed from woodcuts created for the 1519 hieratikon.
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Description: Epiphyte. Rhizome short. Pseudobulbs appressed, laterally compressed, narrowly ovate, costate, to 2 cm wide and 8 cm long, 2 to 30 foliate, with 2 to 3 distichous, foliaceous sheaths surrounding the base. Leaves thin, heavily veined on the underside, narrowly ovate, acuminate, to 8 cm wide and 32 cm long.
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In each of the ground-floor bays, there are rusticated arches with foliate keystones. The arches formerly contained storefronts until the building's conversion into a hotel. The main entrance is from the northernmost arch on Park Avenue South. A belt course runs on the facade between the ground and second floors.
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The lobby takes four of the five bays. It has terrazzo flooring, a tall ceramic tile dado and a foliate plaster cornice. Acoustic tiles cover the original plaster ceiling; modern fluorescent lighting and ceiling fans hang from them. The customer tables and grilles over the teller windows are also original.
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SEM series of graphenated CNTs with varying foliate density Graphenated carbon nanotubes are a relatively new hybrid that combines graphitic foliates grown along the sidewalls of multiwalled or bamboo style carbon nanotubes (CNTs). Yu et al. reported on "chemically bonded graphene leaves" growing along the sidewalls of CNTs. Stoner et al.
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The choir is aisled and is made up of four bays, intersected by buttresses with a mixture of gabled and pinnacled terminals. The windows between have simple curvilinear tracery dividing two main lights. The cornice below the eaves has foliate carving. The clerestory is unbuttressed and has double-lighted windows beneath two mouchettes.
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Headpieces ornamented with geometric and foliate decoration, titles are written in uncials in colours (folios 1, 65, 105, 174). Decorated initial letters in red.Harleian 5538 at the British Library The manuscript was decorated by two artists. The first artist decorated folio 1, a second artist decorated folios 65, 105 and 174 (see image).
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Inside the church are five-bay arcades with round columns. The chancel arch also has round columns, these having foliate capitals. There is a low iron chancel screen, and a two- bay arcade with a parclose screen between the chancel and the chapel. The timber pulpit is octagonal and decorated with figures.
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The volume still has its Carolingian treasure binding dating from the ninth century. The covers were refurbished in the 14th and 19th centuries. The covers are oak panels covered in embossed silver. The front cover has the figure of a seated Christ in Majesty enclosed within a rectangular frame decorated with stones and foliate designs.
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The 8 cochlearia belong to three groups or sets. ThreePainter 1977, nos. 32-4 have pear-shaped bowls with foliate decoration within. Nos. 29-31 are all inscribed within the bowls with the only explicitly Christian references in the group, namely the standard Christian Chi-rho monogram, flanked by the latters alpha and omega.
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The contract for the oak interior woodwork was given to the company of Nathaniel Grieve of Washington Lane, Dalry. Grieve’s workmen executed the wood panelling and foliate borders. The most detailed woodwork was carved by the New Town-based brothers, William and Alexander Clow, mostly from designs by Louis Deuchars.Boreham in Blair et al.
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The center door is screened by a bronze grille. It has a full foliate surround and fan, radiating from a central cluster to end in anthemia. On the door itself are grilles of square panels with center medallions that alternate between round and square shapes and rosette bindings. Behind it, there is a small vestibule.
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The exact shape of these spicules is important for identification purposes and in this family there are a range of different sclerites including foliate capstans and spheroids, plain spindles, plain capstans and small and large clubs. Members of this family do not have the unicellular symbiotic algae Zooxanthellae that grows in the tissues of many other corals.
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Lingual papillae (singular papilla) are the small, nipple-like structures on the upper surface of the tongue that give it its characteristic rough texture. The four types of papillae on the human tongue have different structures and are accordingly classified as circumvallate (or vallate), fungiform, filiform, and foliate. All except the filiform papillae are associated with taste buds.
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The hall was built in 1873 in Gothic revival style in red brick. It is a two storey building, the first floor of which has three large, pointed arch windows divided by rendered columns with foliate capitals. Above the main doorway is a commemorative war memorial to the members of the Society who died during the first World War.
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The east end of the apse has four windows. Sheds with asphalt roofs line both north and south on the first floor; above them are the only plain glass windows on the structure. The north side has a porch with elongated Gothic columns topped by foliate capitals. Its ceiling has narrow, diagonal boards with dark stain.
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Each is surrounded by a shouldered architrave and topped with a projecting molded cornice surrounded by foliate consoles. The living room is done in a vaguely Adamesque style. The room side of the portal echoes in wood the design done in plaster on the hallway side. Plaster paneled sgraffito walls rise to a restrained cornice and coffered ceiling.
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The greater part of the stone carving of Wells Cathedral comprises foliate capitals in the stiff-leaf style. They are found ornamenting the piers of the nave, choir and transepts. Stiff-leaf foliage is highly abstract. Though possibly influenced by carvings of acanthus leaves or vine leaves, it cannot be easily identified with any particular plant.
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Cerautola crowleyi, the Crowley's epitola, is a butterfly in the family Lycaenidae. It is found in Guinea-Bissau, Guinea, Sierra Leone, Ivory Coast, Ghana, Togo, Nigeria, Cameroon, Gabon, the Republic of the Congo, the Central African Republic, Angola, the Democratic Republic of the Congo, Uganda, Tanzania and Zambia. Its habitat consists of forests. The larvae feed on foliate lichen.
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The original furniture of the chancel, of which most remains, is of different dates, but for the most part in the Gothic style. The original choir stalls, of dark English oak, are particularly fine, having large poppy heads, each richly carved with a different foliate design. These were removed under Dean Phillip Jensen, but were reinstated following his departure.
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Inside the church is a gallery that curves round three sides. This is carried on square cast iron columns, and contains raked seating. The columns continue up to the roof, and have foliate capitals. At the east end of the church is a central octagonal pulpit, reading desks and a lectern, all of which are flanked by choir stalls.
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Fungiform (pronounced \ˈfən-jə-ˌfȯrm\\) is from the Latin words fungus (mushroom) and forma, and means "shaped like a mushroom or fungus". Foliate (pronounced \ˈfō-lē-ət\\) is from the Latin word foliatus (leafy), and means "shaped like a leaf". Filiform (pronounced \ˈfi-lə- ˌfȯrm-\\) is from the Latin word fīlum (thread), and means "shaped like a filament or thread".
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The codex contains Lessons from the Gospels of John, Matthew, Luke lectionary (Evangelistarium) with some lacunae. It is written in Greek uncial letters, on 224 parchment leaves (31.5 cm by 23 cm), in two columns per page, 24-25 lines per page. It has decorated headpieces and initial letters. Headpieces are with geometric and foliate decoration in gold or silver.
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The manuscript is lavishly decorated. There are nine diagrams, six miniatures, eight large historiated initials, two smaller historiated initials and three decorated initials, all of which are painted in colors and feature gold leaf. The larger historiated initials have full borders which are historiated and contain scenes in the base of the page. The smaller historiated initials have partial foliate borders.
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Cayratia debilis is a species of flowering plant in the Vitaceae family. It is native to equatorial Africa. It has herbaceous or slightly woody vines, with 5-foliate leaves and greenish-white or yellow flowers. Its stem, leaves and sap are used in herbal medicine in various African countries, and the leaves are eaten as a vegetable on the island of Bioko.
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Ionic pilasters with fluted necks and intricately carved panels with a foliate motif above the middle support a stone lintel. The northernmost pilaster also includes the monogram of the building's original owner. The entrances themselves are topped by arched transoms with fans carved in the spandrels. A cornice with egg and dart molding above the lintel further sets off the upper stories.
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Despite generous donations totalling £1,000 from George II and Robert Walpole, the £3,500 required was not raised, and the church was not able to be restored to its former glory. The sixteen misericords date from 1370 to 1377. These predominately feature heads; for instance, S-02 is the head of Edward the Black Prince. The supporters are mainly floral / foliate.
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TAS1R2+3 expressing cells are found in circumvallate papillae and foliate papillae near the back of the tongue and palate taste receptor cells in the roof of the mouth. These cells are shown to synapse upon the chorda tympani and glossopharyngeal nerves to send their signals to the brain. TAS1R and TAS2R (bitter) channels are not expressed together in taste buds.
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The identification of these remains uncertain. There is a matching pair of smaller flanged bowls,Painter 1977, nos.9 and 10 (diameter 168 mm): they are intricately decorated with beading, foliate scrolls and small birds and hares on the rims, and have rosettes in relief in the centre base. The main bodies of these little bowls have a delicate fluted internal pattern.
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In G. Davidse, M. Sousa Sánchez, S. Knapp & F. Chiang Cabrera (eds.) Flora Mesoamericana. Universidad Nacional Autónoma de México, México. Fraxinus dubia is a tree up to 11 m (37 feet) tall. Leaves are thick, evergreen, glabrous, up to 15 cm (8 inches) long, (1-)5-9-foliate. Flowers are borne in panicles up to 4 cm (1.6 inches) long.
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Around the east door stands an interior glass porch added in 1983 by Simpson and Brown. The ceiling of the ante-chapel consists of a shallow lierne vault, heavy with foliate bosses; the central bosses depict Saint Andrew and the Lion Rampant. There are 57 bosses and over 70 tons of stone in the ante-chapel ceiling.Boreham in Blair et al.
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The walls are wainscoted, and the ceiling is made of boxed beams and wood sheathing. Foliated stencilwork lines the sheathing, while the beams have a multicolored stencilwork pattern on their bottoms. The angled portions of the ceiling are also decorated with foliate stencils. Windows on the building sides have colored sections, and the buildings sole interior light source is a kerosene chandelier.
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Tea tray for Christofle, 1903, Musée d'Orsay, Paris Paul Follot's early designs reflect the Gothic Revival, with foliate motifs. Follot acquired a taste for wooden motifs and carvings from Grasset. The stylized motifs of baskets of fruit or of flowers were typically carved from solid wood by Laurent Malclès. Follot made well-upholstered pieces in gently curved and ornamented giltwood frames.
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Both of those buildings have been torn down. The facade is terminated by a widely projecting, modillioned foliate cornice supported by a corbel table. Windows were originally two-over-two double-hung wood sash. These were replaced by wood casement windows with transoms prior to 1928 on the upper three stories, and by single-pane windows on the second story during the 1980s.
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These items were originally owned by John Lennon and Yoko Ono, and were included in the sale of Tittenhurst Park to Ringo Starr in 1973. Items included several carved bust statues depicted on the Hey Jude album cover, a wood refectory table and benches, a stone garden bench, several stained glass panels and a mirror panel with floral and foliate silver overlay.
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The main entrance is ar example of the combination of the decorative motifs. Exaggerated dentils line the arched panel above the double doors. This panel also contains a lamp, symbolic of enlightenment, hope, window and truth, an open book, symbolic of intellectual attainment, and a fig branch from the tree of knowledge. The remaining elements are stylized foliate patterns, typical of Sullivanesque detailing.
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It is a loosely tufted plant growing from a stout stem base, reaching to 10–25 cm tall. The basal leaves are 3- (rarely 5-) foliate, hairy above, and densely tomentose beneath, the petioles and stems with long, straight hairs. The inflorescence is branched, bearing several fairly large flowers. The flowers have five petals, pale yellow, inversely heart-shaped, longer than sepals.
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Closeup of some of the details. The fountain is a large square block built with five small domes. Mihrab-shaped niches decorated in low relief with foliate and floral designs in each of the four façades, each containing a drinking fountain (çeşme). The water is supplied from an octagonal pool inside the kiosk, with circulation space around it for kiosk attendants.
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The oak box pews installed at this time were especially noted as a fine example of carved ornamentation in the Decorated Gothic style with tracery heads and foliate spandrels. A further restoration project was undertaken in 1987, including repairs to the roof and organ. In 1979 a new octagonal church hall was constructed on the south side of the church.
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The main gate is located in the northern transept arm and faces the monastery's square. It features five archivolts supported by columns and capitals with foliate reliefs and a tympanum sculpted with the Virgin and Child, surrounded by angels. Above the latter is a decorated frieze. Another gate is located on the church's northern wall, but is now obstructed by a sarcophagus enclosed in an ogival arch.
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The main Byzantine church, an octagonal martyrion, was built in the 6th century and sited directly upon the podium that had supported Herod's temple, as was a widespread Christian practice. The martyrion was richly paved and surrounded by small radiating enclosures. Archaeologists have recovered some foliate capitals that included representations of the Cross. The site would in time be re-occupied, this time by a mosque.
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British Library, Royal MS 13 B VIII; Bodleian Library, MS Rawlinson B 188; University Library, Cambridge, MS Ff i 27/ff. 253-471 The British Library manuscript has some large coloured foliate initials. The work plays a role in the plot of Thomas Love Peacock's 1831 novel Crotchet Castle, where the medieval enthusiast Mr. Chainmail proposes to retrace the steps of "Giraldus de Barri".
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Human Von Ebner's Gland. Von Ebner's glands, also called Ebner's glands or gustatory glands, are exocrine glands found in the mouth. More specifically, they are serous salivary glands which reside adjacent to the moats surrounding the circumvallate and foliate papillae just anterior to the posterior third of the tongue, anterior to the terminal sulcus. These glands are named after Victor von Ebner, an Austrian histologist.
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Von Ebner's glands secrete lingual lipase, beginning the process of lipid hydrolysis in the mouth. These glands empty their serous secretion into the base of the moats around the foliate and circumvallate papillae. This secretion presumably flushes material from the moat to enable the taste buds to respond rapidly to changing stimuli. Von Ebner's glands are innervated by cranial nerve IX, the glossopharyngeal nerve.
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H&E; The upper surface of the tongue is covered in masticatory mucosa a type of oral mucosa which is of keratinized stratified squamous epithelium. Embedded in this are numerous papillae some of which house the taste buds and their taste receptors. The lingual papillae consist of filiform, fungiform, vallate and foliate papillae. and only the filiform papillae are not associated with any taste buds.
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The east window has three lights, above which is a canopied niche. Each of the four bays on the south side of the church contains a two-light window with a trefoil head. At the west end are two more two-light windows. Inside the church, between the nave and the aisle, is a four-bay arcade carried on circular piers with foliate capitals.
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1270 capital detail. The c. 1270 chamfered rebated chancel arch has a hood mould finished with human head label stops on both chancel and nave sides. Set within the arch is a further chamfered arch supported by responds--half-piers attached to walls supporting an arch--of semi-circular columns with flat-face faceted moulded bases, and foliate capitals that have been part-restored.
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Hussey 1931, p. 83. Lorimer believed the art of vaulting reached its zenith in the Perpendicular period and designed the vault in that style; at the same time, he employed large, robust bosses to evoke Scottish medieval architecture. Likewise, Lorimer's preference for heraldic angels and foliate bosses may have been inspired by similar stonework in the adjoining Preston Aisle of St Giles'.Boreham in Blair et al.
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Foliate focuses on reading and does not support book management. It supports typical e-book formats with reflowable text: EPUB (primary focus), Mobipocket, AZW(3), and no formats with fixed layout, although PDF support is being considered. Its customizable and theme-based user interface is inspired by those of portable e-reader hardware devices. It follows the GNOME standards and automatically adapts to different screen formats.
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The Samuel Copeland House is located on the northern fringe of downtown Worcester, on the west side of Harvard Street. It is a 2-1/2 story wood frame structure, with a front-facing gabled roof and a clapboarded exterior. The building's facade has a full two-story portico supported by four fluted Corinthian columns. Its triangular full pedimented gable with window framed by foliate decoration.
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Within the top roundel the Evangelist is depicted with both his hands holding his closed Gospel book. His beast symbol within the arch consists of a full-figure frontal eagle figure with its head turned to its right in profile in an "imperial" fashion.Brown 1996, p. 73. The capitals consist of distinctive elaborate masks from which spring the arch as well as foliate and zoomorphic motifs.
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The codex contains a complete text of the four Gospels on 300 parchment leaves (size ), 4 unfoliated paper leaves at the beginning, and 3 at the end. The text is written in one column per page, in 23 lines per page. The large initial letters are written in gold and colours. The headpieces with geometric and foliate decoration in gold and colours (folios 15r, 93r, 145r, 229r).
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Greg Langley, The Advocate, 30 January 2013 The editor of Books and Culture says, "Youmans (pronounced like 'yeoman' with an 's' added) is the best-kept secret among contemporary American writers." Her books demonstrate a number of continuing interests: in lives lived close to nature, whether in the past (Catherwood) or the future (Thaliad), magic, faith and redemption (Val/Orson, The Foliate Head) and the individual’s journey from youth to adulthood (Inglewood, A Death at the White Camelia Orphanage). Visual art is often referenced in her work and Charis in the World of Wonders, The Book of the Red King, Thaliad, The Foliate Head, Glimmerglass, and Maze of Blood were collaborations with the artist Clive Hicks-Jenkins with decorations throughout the texts. She provided the title poems for an illustrated anthology, The Book of Ystwyth: Six Poets on the Art of Clive Hicks- Jenkins.
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The proscenium arch, rising to above the stage floor, is decorated with alternating octagons, foliated candelabras and other foliate motifs. On either side it has fluted Corinthian pilasters and engaged columns with Adamesque carvings in the surrounding walls. It is topped by a highly detailed entablature, its cornice decorated with lions' heads, anthemion leaves, dentils and egg-and-dart molding. The frieze features steer skulls, candelabras, shields and swag.
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The lintels have an unusual ogee curve on their lower edge. All upper-story windows are one-over-one sash with stained glass border panes in the upper section. The fourth story's round-arched windows have an otherwise similar treatment with some differences in detailing. The panels below are more detailed than their third story counterparts, with a spiral foliate decoration at the center and owls at the sides.
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The north wall of the Aisle contains a semi- circular tomb recess. The ceiling vaults are supported by a bundled pillar that supports a foliate capital and octagonal abacus upon which are the escutcheons of the Aisle's donors: Robert Stewart, Duke of Albany and Archibald Douglas, 4th Earl of Douglas. This is the oldest example of a style of pillar repeated throughout the later additions to St Giles'.
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The Hidimba Devi Temple has intricately carved wooden doors and a 24-meter-tall wooden "shikhar" or tower above the sanctuary. The tower consists of three square roofs covered with timber tiles and a fourth brass cone-shaped roof at the top. The earth goddess Durga forms the theme of the main door carvings. Also depicted are animals, foliate designs, dancers, scenes from Lord Krishna’s life and Navagrahas.
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The adornments consist of dense passages of foliate scrolls which are derived from Arabesque art. The imagery contain both human figures and fantastical creatures. The latter seems influenced by the Italian Grotesque, particularly the work of sculptors Francesco Primaticcio and Benvenuto Cellini, both of whom produced works for Henry II.Snyder (1987), 140 The human figures include a Roman warrior representing Triumph and Fame. He receives tribute from two kneeling women.
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Firstly, a few inches below a branch-trunk joint on a tree trunk where the moth is in shadow; secondly, on the underside of branches and thirdly on foliate twigs. The above data would appear to support this. Further support for these resting positions is given from experiments watching captive moths taking up resting positions in both males (Mikkola, 1979; 1984) and females (Liebert and Brakefield, 1987). Majerus, et al.
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There are two buttresses with ornamented coping stones. The east or chancel window has three stepped, lancet lights under a two-centred arch and a hoodmould with foliate stops, and above this is a relieving arch of dressed freestone. On the south wall are three windows, two with paired lancet lights, and one triple. A single horizontal band of dressed freestone is comparable with the north wall of the nave.
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Arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements. Another definition is "Foliate ornament, typically using leaves, derived from stylised half- palmettes, which were combined with spiralling stems".Rawson, 236 It usually consists of a single design which can be 'tiled' or seamlessly repeated as many times as desired.
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Building began about 1175 at the east end with the choir. Historian John Harvey sees it as Europe's first truly Gothic structure, breaking the last constraints of Romanesque. The stonework of its pointed arcades and fluted piers bears pronounced mouldings and carved capitals in a foliate, "stiff- leaf" style. Its Early English front with 300 sculpted figures, is seen as a "supreme triumph of the combined plastic arts in England".
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The corpus is surmounted by a spire with foliate decoration on four levels, and it is supported by a column decorated with more Old Testament scenes: the Temptation of Adam, the Expulsion from the Garden of Eden, Adam digging and Eve spinning, and their children Cain and Abel. The column stands on a base decorated with scenes from Genesis, showing the creation of the animals, the creation of Adam, and the creation of Eve.
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The four reserves on the boss of the dish each contain a classical god, together with elements. The reserves around the rim show Minerva presiding over the seven liberal arts: astronomy, geometry, arithmetic, music, rhetoric, dialectic and grammar, each with relevant attribute. The rim of the salver has an ovolo moulding. The remainder of the surface is decorated with gilt renaissance strapwork and foliate motifs in relief against a rigid silver ground.
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In the south chapel at the east wall, in an opening leading from the chapel to the chancel, is a blind doorway. At the south side is a piscina, an aumbry and a stoup. There is an elaborate canopied relief tomb niche, without tomb, with internal arch, with decorative bosses above, holding a cinquefoil with foliate bosses attached, and spandrels containing shields. The south chapel west stained glass window is c.1892.
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Typical features of the more important buildings included massive round piers and smaller engaged columns. 9th century Abbasid architecture had foliate decorations on arches, pendant vaults, muqarnas vaults and polychrome interlaced spandrels that became identified as typical of "Islamic" architecture, although these forms may have their origins in Sassanian architecture. Thus the fronting arch of the Arch of Ctesiphon was once decorated with a lobed molding, a form copied in the palace of al- Ukhaidar.
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Both upper cheek walls have stylized eagles carved into their corners. In each pavilion the paired and single entrance doors are surmounted by a curving window bay that rises four stories. Both are flanked by angled reveals, adorned with alternating fluted segments and foliate-motif plaques. The rear of the building is dominated by a five-story central section, flanked by one-story pavilions built to house the post office work floors.
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Interior of the Synagogue in 1898 While the exterior was Romanesque, its interior featured the richly ornamented style that was to become the hallmark of Moorish Revival architecture. The elaborate Arabic-style interior had a two-tiered balcony supported by columns copied from the Alhambra. The arches and balcony fronts were richly worked with intricate polychrome foliate and lattice designs in the Moorish style.Harold Alan Meek, The Synagogue, Phaidon, London, 1995, p.
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Under the gable, whose peak is adorned by more foliate carving, are four narrow windows which provide light for the attic floor. The first floor windows all have stone transom bars, with the transoms all made of exceptional stained glass. From the Carroll Street side it can be seen that the corner tower is round on the first floor, but polygonal above that. It is topped by a high octagonal roof covered in tile.
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The name of these carpets is associated with the village of Heris or Herez to the North East of Tabriz. The stylistic decoration of the “Heris” carpets is rather unusual. The composition and common shapes of the details are created on the basis of the composition “lachak turanj”, which is formed by the foliate curve-linear patterns. However, with time the patterns of this composition became dotted and created an independent carpet pattern.
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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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A single taste bud is innervated by several afferent nerves, while a single efferent fiber innervates several taste buds. Fungiform papillae are present on the anterior portion of the tongue while circumvallate papillae and foliate papillae are found on the posterior portion of the tongue. The salivary glands are responsible for keeping the taste buds moist with saliva. A single taste bud is composed of four types of cells, and each taste bud has between 30 and 80 cells.
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The house was built for local mercantilist Lewis Kline in 1884 and reflects Italianate architecture. The wood frame two story house sits on a brick foundation and basement and has an irregular floor plan of . The hipped roof and boxed cornice are supported with console brackets that feature scroll saw ornamentation of stylized foliate motifs. The double hung sash 1 over 1 windows are grouped in twos with tripartite arrangements some in bays with varied projection.
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It consists of moulded pointed arches with springer blocks, voussoirs and apex stones, supported on triple shafts with foliate capitals and moulded bases. Above the capitals, at the bases of the arches, are sculptures that include depictions of human and animal heads. The human heads consist of two canons with hoods and protruding tonsures, other males, and females with shoulder-length hair. In one spandrel is a seated figure with an outstretched arm holding a book.
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The Riviera Hotel is a historic hotel building at 719 Central Avenue in Hot Springs, Arkansas. It is a five-story brick-faced structure, its main facade divided into two sections flanking a central panel. The outer sections are each topped by a rounded arch with carved foliate panels in the corner sections outside the arch. Bands of windows are separated by horizontal panels at the lower levels, and it has a commercial storefront on the ground floor.
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Both stories above it have nine-over-one double-hung sash between granite sills and lintels in all four bays. In the center of the third story is a three-part semicircular window set in a splayed-brick arch, its middle section two-over- two sash. The restrained facade is countered by a decorative peaked parapet above the semicircular window. It starts with a band of terra cotta panels in alternating circular and foliate motifs between sawtooth brick courses.
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They take up three bays each, with original bronze lampposts on either side. Each bay has a bronze double door flanked by engaged fluted pilasters and topped with a ten-light transom. Above it is a lintel with geometric designs and a foliate relief carving. In the first bay of the north facade and the second-to-last bay of the east facade is an additional single-bay entrance with similar treatment; the former is no longer in use.
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Luke. The manuscript contains canon tables set within architectural arcades which are decorated with zoomorphic and foliate designs. There are four Evangelist portraits. Each evangelist is shown as a scribe and is identified by a half-length symbol above him and by an inscription. The portraits show some similarities to some Insular manuscripts and some Court School manuscripts, as might be expected given the nationality Fridugisus, who was English, and from his connections to the Carolingian court.
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Their ornament is applied in separate bands, hammered or cast and chased, and soldered on the lip or shoulder of the vessel. A richly decorated form is a shallow bowl with wide ring-handle and flat lip, on both of which are foliate or floral patterns in relief. A notable shape, connecting prehistoric with Hellenic metallurgy is a tripod-bowl, a hammered globular body with upright ring-handles on the lip and heavy cast legs attached to the shoulder.
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This approach draws heavily on the use of Newtonian like analogue and usually has as it starting point the FRW background around which perturbations are developed. The approach is non-local and coordinate dependent but gauge invariant as the resulting linear framework is built from a specified family of background hyper-surfaces which are linked by gauge preserving mappings to foliate the space-time. Although intuitive this approach does not deal well with the nonlinearities natural to general relativity.
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Whole carpet pages were illuminated with abstract patterns, including much use of interlace, and stone high crosses combined interlace panels with figurative ones. Insular interlace was copied in continental Europe, closely in the Franco-Saxon school of the 8th to 11th centuries, and less so in other Carolingian schools of illumination, where the tendency was to foliate decorative forms. In Romanesque art these became typical, and the interlace generally much less complex. Some animal forms are also found.
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Another cornice sets off the third stage, which has a four-part window topped by a small rosette-shaped window under an arch that becomes stone at the springline. The rosette becomes a semicircle on the sides, just above the gable apex. Above the third stage a frieze of rusticated stone blocks and another cornice sets off the fourth stage. On all sides here stone- topped arches, rising from foliate stonecarvings at the springline, open into the belfry.
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The whole arch rests upon scallop capitals on the original shafts and the door itself is fitted with decorative strap hinges. Inside the church and west of the doorway there is an unusual chalice-shaped Caen stone font, which, like the chancel arch, dates from the mid-12th century. With a cable moulding around the rim and an arcade of 12 round arches it is decorated with alternately inverted foliate emblems. The basin sits on a 19th-century plinth.
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The supporting pillars of the nave are cylindrical, with attached sharp-edged fillet moldings. In the arcade, single fillets are topped by a foliate capitals that also cap the cylindrical core of the piers. The arcade and bay divisions shows both disappearing and continuous moldings, both of which are elements of Late Gothic articulation. The middle level of the nave's elevation is a blind triforium with a lower balustrade; the broad clerestory windows are decorated with flamboyant tracery.
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The triple arched main entrance Albemarle Baptist Church Cottage The building is a classic small church of the Gothic Revival style. Constructed of dressed stone and white brick with ashlar dressings, the street front has a triple arched entrance, with circular piers and responds with foliate capitals, and polychromatic arches. The three sets of double doors have stained glass, and single shallow buttresses flank the entranceway. To its left is a single lancet window, and to its right, three.
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The 2½-story brick house features a main entrance with sidelights and other windows that reaches the attic level. It features a blend of wood carvings in foliate and rope designs, and Bedford stone lintels and blocks that are carved with reliefs that reflect an Italian Renaissance influence. The brick color, chimneys and roof style reflect the Tudor Revival style. The house also has large windows with transom and casements that reflect the Colonial Revival style.
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The upper levels are generally finished in half-timbered stucco, in some places decorated by additional foliate carvings. Many of its leaded casement windows are antiques shipped from Europe, and the house's Great Hall has architectural features removed from an Italian monastery. After the death of Mary Higgins, the house was donated to Worcester Polytechnic Institute in 1971, and now houses the Office of Alumni Relations. Aldus Higgins died September 10, 1948 and was buried in Rural Cemetery in Worcester.
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Significant memorials are those to the Hussey baronets: Sir Charles (1626–1664), and his wife Elizabeth; and Sir Edward (c. 1661–1725), and his wife Elizabeth (died 1750). Both memorials are at the east wall of the nave. Sir Charles’s, immediately to the south of the crossing arch, is of a bust set between columns with hanging foliate relief below brackets, these supporting a broken and scrolled pediment with a decorative scrolled cartouche bearing coat of arms at its centre.
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"Hussey, Sir Edward, 3rd Bt. (c.1662–1725), of Caythorpe, Lincs", The History of Parliament Online. Retrieved 21 October 2013 The Hussey family were patrons of the church and its benefice. A chancel memorial—in the shape of a tombstone, with putto head, scrolling, and foliate devices below a pediment—is that to Edmund Weaver of Frieston (1683–1748), the astronomer, local land surveyor, and author of The British Telescope ephemerides.The Correspondence of the Spalding Gentlemen's Society, 1710–1761, p. 143.
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Built between 1175 and 1490, Wells Cathedral has been described as “the most poetic of the English Cathedrals”. Much of the structure is in the Early English style and is greatly enriched by the deeply sculptural nature of the mouldings and the vitality of the carved capitals in a foliate style known as “stiff leaf”. The eastern end has retained much original glass, which is rare in England. The exterior has the finest Early English façade and a large central tower.
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Graphenated carbon nanotubes are a relatively new hybrid that combines graphitic foliates grown along the sidewalls of multiwalled or bamboo style CNTs. The foliate density can vary as a function of deposition conditions (e.g., temperature and time) with their structure ranging from a few layers of graphene (< 10) to thicker, more graphite-like. The fundamental advantage of an integrated graphene-CNT structure is the high surface area three-dimensional framework of the CNTs coupled with the high edge density of graphene.
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The plaques are generally about 1/8 inch thick. The backgrounds on the front of most of the plaques are incised with foliate patterns bearing one to four leaves, which is referred to as ebe-ame, or the "river leaf" design. The leaves were used in healing rites by priestesses of Olokun, the god of the sea. Some of the reliefs represent important battles of the sixteenth-century wars of expansion, however, the majority depict noble dignitaries wearing splendid ceremonial dress.
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Ounjougou: a long Middle Stone Age sequence in the Dogon country (Mali). In: Allsworth-Jones Ph (ed), West African Archaeology. New developments, new perspectives, Oxford : BAR International Series 2164, 1-14.). The industries between 100,000 and 20,000 BP are extremely diverse. The appearance of blade production around 65,000 BP, followed by discoidal reduction around 60,000 BP, the appearance of foliate bifacial pieces around 50,000 BP and the disappearance of Levallois technique around 30,000 BP are the most notable events during the sequence.
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The wild tomato is a perennial herb, woody at the base, the herb being up to or more in diameter and up to 1m tall. Its stem is between in diameter at its base, often hollow, green, glabrous to variously pubescent with a mixture of simple uniseriate trichomes. Its sympodial units are 2-foliate; internodes being between . Its leaves are interrupted imparipinnate, green to pale beneath, glabrous to sparsely short pubescent with a mixture of simple uniseriate trichomes, some populations lacking trichomes.
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Two pedestalled dishes also form a pair.Painter 1977, nos.13, 14 They were originally thought to be stemmed cups with wide, flat bases, somewhat like a modern wineglass in shape, but the foliate pattern on the 'bases' and the relatively unfinished interiors of the 'cups' show that they were used the other way up, as small (115mm diameter) flat dishes on a stem with a bowl- shaped base. Vessels of the same shape occur in the Traprain Law treasure, found in 1919.
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The second and third floors comprise an arcade with smooth piers made of limestone underneath rocky arches. Each of the bays contain two rectangular windows on the second floor and one wide arched window on the third floor. On the fourth floor, each bay has a pair of thinner arched windows, separated by a column. The northeast and southeast corners of the building contain three- story colonettes that span the second through fourth floors, which are topped by foliate capitals.
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Fiske's designs ranged from the naturalistic foliate designs that were the stock-in-trade of mid-Victorian style to sculptures after the Antique or neoclassical works of Antonio Canova or Bertel Thorvaldsen, suitable for park-like landscapes of estates and landscape cemeteries of formal schemes. Fiske was also noted for his hammered copper weather vanes, produced in Williamsburgh, Brooklyn. Fiske's great rival in the decorative cast iron field was Jordan L. Mott's J. L. Mott Iron Works of New York City.Israel 2000.
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The neuron connected to the taste bud is stimulated by the neurotransmitters. The TAS1R2+TAS1R3 heterodimer receptor functions as the sweet receptor by binding to a wide variety of sugars and sugar substitutes. TAS1R2+3 expressing cells are found in circumvallate papillae and foliate papillae near the back of the tongue and palate taste receptor cells in the roof of the mouth. These cells are shown to synapse upon the chorda tympani and glossopharyngeal nerves to send their signals to the brain.
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The arches were included because of "aesthetic considerations", but are actually cantilever beams, because true arches would have required excessively large abutments. The girders over each pier are each long by deep, weighing each. They were made in New Jersey and shipped from Delaware to New York, then pulled by 52 horses from the East River. The deck of the viaduct, above the steel arches, contains railings with plain and foliate panels, as well as lampposts atop each granite pier.
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The Daniel Worthen House is a historic house at 8 Mt. Pleasant Street in Somerville, Massachusetts. The modest 1-1/2 story wood frame house was first owned by Daniel Worthen, a distiller, and is notable as a rare example of Gothic Revival styling in East Somerville. The house has a jigsaw-cut foliate vergeboard on its gable. It has a three-bay front facade, with a front-facing gable roof and a single-story shed-roof porch supported by turned posts.
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Kellum used classical cast iron and plaster elements such as palmettes, triangular pediments, and geometric banding; he also included large rectangular openings in the rotunda wall on the ground and second floors. Eidlitz used medieval-style brick and stone motifs including Norman arches and leaves, and he filled in Kellum's rectangular openings with brick arches topped by foliate capitals. The rotunda mostly contains the designs of Eidlitz, but a few vestiges of Kellum's original style remain. A skylight is located at the roof of the rotunda.
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Star and medallion Ushaks represent an important innovation, as in them, floral ornaments appear in Turkish carpets for the first time. The replacement of floral and foliate ornaments by geometrical designs, and the substitution of the infinite repeat by large, centered compositions of ornaments, was termed by Kurt Erdmann the "pattern revolution". Another small group of Ushak carpets is called Double-niche Ushaks. In their design, the corner medallions have been moved closely together, so that they form a niche on both ends of the carpet.
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H. guianensis is a large evergreen tree growing to a height of . Annual growth is in the form of vigorous short shoots on which flowers and foliage develop before the old leaves are shed. The leaves are tri-foliate (with three leaflets), the leaflets being folded back when the leaf emerges but becoming semi-erect as the leaf matures, the only species in the genus where this is the case. The variety lutea differs from the nominate race in having obovate leaflets instead of elliptical ones.
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The outer walls of the temple create a rectangle containing a sanctuary with a passageway on three sides, opens into a columned mandapa on the east, missing all its internal columns. The walls are built on a basement with a central recessed course containing foliate ornament and narrative scenes. On the south face, Ramayana episodes are pictured, like, waking of Kumbhakarna, Rama fighting with forest enemies. Panels on the west face depict the birth and childhood of Lord Krishna, including Krishna sucking Putana’s breasts.
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The Webster Street Firehouse is a historic fire station at 40 Webster Street in Worcester, Massachusetts. The brick 2.5 story building was built in 1893 to a design by the local architectural firm of E. Boyden & Son. Its main facade is visually eclectic, with yellow brick and terracotta elements, brick pilasters topped with foliate decoration, and an arched window surmounted by a tower with iron cresting. There is a central four sided tower with open belfry that is topped by a steeply pitched roof.
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Some of the cathedral's fittings and monuments are hundreds of years old. The brass lectern in the Lady Chapel dates from 1661 and has a moulded stand and foliate crest. In the north transept chapel is a 17th-century oak screen with columns, formerly used in cow stalls, with artisan Ionic capitals and cornice, set forward over the chest tomb of John Godelee. There is a bound oak chest from the 14th century, which was used to store the chapter seal and key documents.
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Constructed of red brick with sandstone trim and sandstone lintels and sills on the windows, the building has a foliate terracotta plaque bearing its name and date of construction. The fire station was closed as a firehouse in 1974, when the current Fire Station Number 4 on Cottage Street opened. The interior of the building was greatly modified to accommodate offices and meeting rooms by the time of its listing on the national register. In 2014, the building is being used by the Catholic Charities of Providence.
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The building has small hip-roofed porches with arched openings on the main entrance and Broadway facing sides. Though constructed of red brick and pinkish mortar, sandstone was used for the window sills and lintels and the station's trim. The building has detailed terracotta work, with an ornate foliate name and date plaque on the front gable and a string course at the base of the corbeled main entrance. Above the plaque is a semi-circular window, and another round- headed window is on the northern side.
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Lush vegetation resembles jungles while elements of the "other" surround the visitor. Tribal performance masks, conga drums, non-American totem poles, exotic animal statues, and architecture of Pacific influence make for a confined area wherein industry and technology take a back seat to uncharted nature.Minnick, Nathaniel. "Disney's Lands in the History of Colonial Displays of the Exotic" (University of Michigan, 2006) Noted art historian David T. Doris explains Adventureland as, "a pastiche of imaginary colonial spaces, conflated within the green and foliate milieu of "the Jungle.
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Plaque on the viaduct From the south, traffic from Park Avenue, 40th Street, or the Park Avenue Tunnel enters the steel viaduct. The viaduct rises to a T-intersection just north of 42nd Street, over the street-level entrance to Grand Central Terminal below. This segment of the viaduct is long and consists of a granite approach ramp with stone balustrades, as well as three steel arches, which are separated by granite piers with foliate friezes. The central arch has been infilled to create a restaurant space.
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The richly decorated piece is an evolved "C bowl" with a broad circular indentation underneath. Foliate and vine-scroll filigree work decorates the top and bottom surfaces of the flat central indentation. In the middle of the bowl, on the top surface of the indentation, stands a long-necked dog-like animal, with blue glass eyes, tall enough to peer over the rim of the bowl; around it are arranged four small projecting animals heads. Semi-precious stones are also mounted inside the bowl.
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It was designed by Lewiston architect James H. Nave. Its National Register nomination describes it as Chicago School in style: > A simply decorated and handsome structure, the Breier Building is an example > of the Chicago School Commercial style. Typical characteristics of this > style are masonry clad exteriors and a higher proportion of windows to wall > space than was used in previous styles. While geometric and foliate > adornment are more typical of earlier-period Chicago School Commercial-style > buildings, later examples like the Breier Building are more stark and > stripped of ornament.
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It has pointed arch tall lancet windows (originally surrounded by trefoil tracery and moldings) and doorways (surrounded by parts of moldings showing engaged columns and foliate capitals). Its larger center door is crowned by triangular molding that is almost as high as the second floor, which contains a Magen David with thin pinnacles on either side. It also has interior wooden vaults, and several balconies (one of which houses Angel Orensanz's studio). It has a tripartite front facade of red stone brick, covered with stucco, framed at its top by a pointed gable.
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The Strope Mausoleum is a simplified Greek Revival structure, with a bronze door in the Art Nouveau style displaying an angel surrounded by lilies. The Tracy Mausoleum, incorporating the most eclectic mix of design influences on the property, has a rock-faced stone exterior covered with foliate carvings. It displays a combination of Romanesque, Moorish, and Baroque elements, and is topped with a "beehive" roof—one of its more recognizable design features. The Tibbits Mausoleum, Vail Vault, and Gale Mausoluem are all done in the Gothic Revival style.
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Palaces at Samara such as al-'Ashiq and al-Jiss, built around 870, display polylobed moldings carved deeply into the intrados of the arches, giving the appearance of a foliate arch. Floors were sometimes of marble, more often tiled. The reception rooms of palaces at Samarra had carved or molded stucco dados decorating the lower part of the walls, and stucco also decorated door frames, wall-niches and arches, in three distinct styles. Other palaces that have been excavated often have a domed central chamber surrounded by four iwans facing outward.
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In the next building campaign, three bays of the nave were added, the bell tower and its porch, and finally the last six bays of the nave. The bell tower is finished by a fine stone spire more than 80 meters high, added in the 14th century and restored in the 19th century. The barrel vaulted nave is supported on magnificently-scaled columns with foliate capitals. Below the church is the crypt of the martyr brothers St Savin and St Cyprian, decorated with frescos depicting scenes from their lives.
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The Steward's House in Chapel Lane, is reputed to have been built as a house for Winchcombe Abbey's manorial steward and dates from the 17th century. The interior was formerly a three-room plan with linking doors against the rear wall. The former central room retains a 2m section of a raised plasterwork frieze, the middle part of which is decorated with a vine scroll decoration: the upper margin features bursting seed pods and griffins, and the lower has foliate decoration. There is an inglenook fireplace with a moulded Tudor arched bressumer in same room.
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Others of later types, some still in their original floor positions, were of pressed heraldic, geometric or foliate designs in a red clay matrix with white ball clay infilling, or in some cases painted in slip, before glazing. They show that the convent church and cloisters were not visually austere. The early embossed tiles have been found at related sites including Orford, Leiston Abbey and Campsey Priory, and the later types are also characteristically East Anglian. The Butley tiles are a core reference collection in developing knowledge of this subject.
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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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TAS1R1+3 expressing cells are found in fungiform papillae at the tip and edges of the tongue and palate taste receptor cells in the roof of the mouth. These cells are shown to synapse upon the chorda tympani nerves to send their signals to the brain. TAS1R2+3 expressing cells are found in circumvallate papillae and foliate papillae near the back of the tongue and palate taste receptor cells in the roof of the mouth. These cells are shown to synapse upon the glossopharyngeal nerves to send their signals to the brain.
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The northern frontage has timber verandahs giving access to first level classrooms, with squared sheeted spandrel panels, and supported on paired columns with foliate capitals. The verandahs have battened balustrades, raked timber ceilings to the upper level and ripple iron ceilings to ground level. Part of the verandah to the east has been closed in with fibre cement sheeting. The projecting bays to the south, east and west have pairs of pointed arch tracery windows with single rosettes above, with a single larger tracery window to the northern and southern end of the Great Hall.
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Early wooden structures, particularly temples, were ornamented and in part protected by fired and painted clay revetments in the form of rectangular panels, and ornamental discs. Many fragments of these have outlived the buildings that they decorated and demonstrate a wealth of formal border designs of geometric scrolls, overlapping patterns and foliate motifs. With the introduction of stone-built temples, the revetments no longer served a protective purpose and sculptured decoration became more common. The clay ornaments were limited to the roof of buildings, decorating the cornice, the corners and surmounting the pediment.
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Some notable works in the collection include the life-sized early-15th-century bronze Guanyin, known widely as "Goddess of Mercy"; the robust figure of a horse from a Han dynasty tomb; a 39-piece mortuary retinue, a rare example of the quantities of clay figures that were placed in tombs during the early Tang dynasty; and an outstanding foliate-shaped brush washer that represents the mastery of Chinese blue-and-white porcelain. Asian art is also represented in other areas of the museum's collection, including 475 Japanese prints and 1,000 textiles from across Asia.
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It is octagonal, with its ribbed vault supported on a central column. The column is surrounded by shafts of Purbeck Marble, rising to a single continuous rippling foliate capital of stylised oak leaves and acorns, quite different in character from the Early English stiff-leaf foliage. Above the moulding spring 32 ribs of strong profile, giving an effect generally likened to "a great palm tree". The windows are large with Geometric Decorated tracery that is beginning to show an elongation of form, and ogees in the lesser lights that are characteristic of Flowing Decorated tracery.
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The TAS2R proteins () function as bitter taste receptors. There are 43 human TAS2R genes, each of which (excluding the five pseudogenes) lacks introns and codes for a GPCR protein. These proteins, as opposed to TAS1R proteins, have short extracellular domains and are located in circumvallate papillae, palate, foliate papillae, and epiglottis taste buds, with reduced expression in fungiform papillae. Though it is certain that multiple TAS2Rs are expressed in one taste receptor cell, it is still debated whether mammals can distinguish between the tastes of different bitter ligands.
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A possible taste receptor for fat, CD36, has been identified. CD36 has been localized to the circumvallate and foliate papillae, which are present in taste buds and where lingual lipase is produced, and research has shown that the CD36 receptor binds long chain fatty acids. Differences in the amount of CD36 expression in human subjects was associated with their ability to taste fats, creating a case for the receptor's relationship to fat tasting. Further research into the CD36 receptor could be useful in determining the existence of a true fat-tasting receptor.
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Key-fret, foliate designs, geometric or scrolling flowerhead bands, elliptical panels, stylized fish,insects,birds and the use of incised designs began at this time. Glazes were usually various shades of celadon, with browned glazes to almost black glazes being used for stoneware and storage. Celadon glazes could be rendered almost transparent to show black and white inlays. Jinsa "underglaze red", a technique using copper oxide pigment to create copper-red designs, was developed in Korea during the 12th century, and later inspired the "underglaze red" ceramics of the Yuan dynasty.
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The George and Margaret Cooper House is a historic building located in Mount Pleasant, Iowa, United States. It is a fine example of the Italianate style, which was a popular style for residential architecture in Mount Pleasant from the 1850s to the mid-1880s with The two story brick house features an asymmetrical plan, a low pitched hip roof, wide bracketed eaves, and long narrow windows. The full-width front porch has square paneled columns with foliate designs in the capitals and brackets. A single-story wing is attached to the rear of the house.
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The facade is clad with granite and limestone, and includes arcades on its lower and upper stories, piers made of rusticated stone blocks, and decorative foliate motifs. The structure was one of the first in New York City to use a cage-like steel frame structure, an early version of the skyscraper. The Mutual Reserve Building was originally named for its main tenant, the Mutual Reserve Fund Life Association, which occupied 305 Broadway until it went bankrupt in 1909. The first owner, the family of shipping magnate William Fletcher Weld, owned 305 Broadway until 1920.
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January from the calendar These volumes come from a period when Books of Hours were produced for their artistic and decorative effect. The Master's border decorations are delicate, foliate motifs reminiscent of the Anjou family's Bible moralisée. The miniatures are stylistically similar to those of the Grandes Heures and the Belles Heures, which Yolande purchased from her brother-in-law, the Duke de Berry's estate, after his death in 1416. The dark and dramatic tone of The Hours may reflect the tragic defeat of the French at Battle of Agincourt, 25 October 1415.
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Although Wailes was seen as a Gothic Revival artist, and was able to fill windows with ornate foliate patterns that have the quality of brightly painted manuscripts rather than ancient glass, his figures were elegantly classicising and decidedly staid of demeanour. Figures in Wailes’ windows communicate in a series of stereotypical hand gestures. Moreover, the details of faces are applied in a painterly manner, as against the almost calligraphic manner with which some of the 19th-century artists such as John Hardman imitated ancient windows. The painterly manner is typical of that employed by Mayer of Munich, with whom Wailes trained.
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The ceilings of the temples are adorned with foliate scrollwork and geometric patterns. The top and bottom part of the domes are joined by Brackets with figures of deities on them. The most important amongst all the temples within the complex is the Chaumukha Temple. Dedicated to the first Jain Tirthankara, Adinath, it is a four faced temple which has a basement of . The temple boasts of four subsidiary shrines, 24 pillared halls and 80 domes standing on the support of nearly 400 columns (the total number of columns in the temple complex, however, is much larger, around 1444).
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Relatively large sculptures of the 12 Apostles adorn the nave of Notre-Dame de Louviers. These sculptures rest on foliate corbels just above the capitals of the nave columns. The entire arrangement recalls the design of the upper chapel of the Sainte-Chapelle in Paris, which would suggest the nave of Notre-Dame de Louviers was still under construction during the late 1240s—the period when Louis IX's celebrated chapel was completed in the capital. The sculptures themselves, however, are probably from the early 16th century, and can be linked to the artistic patronage of Georges d'Amboise at château de Gaillon.
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Above this rises a square tower, supported by eight flying buttresses springing from pinnacles; in each face is a triple pointed opening divided by small foliate-capitaled columns. Above these openings are large circular oculi in which the clock (now entirely disappeared) displayed its four faces. The tower is surmounted by acute angled gable-pediments, with five-lobed ogee centre pieces; four corner pinnacles, the crockets now missing; and a pyramidal roof terminating in ornate cresting. There are few High Victorian monuments of equal merit and importance in Ulster, and this one well deserves to be repaired and restored.
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The Great Hall (dining hall) The Great Hall, or dining hall, is a space with a large wooden roof of collar beams and arched braces, with king post and raking queen posts. Each truss is visually supported by short stone shafts with foliate capitals and corbels in the early 14th century manner, as is the tracery. The formal entry stairs intended to be placed to the south have never been built, and the original eastern wall has been replaced by an open arcade. On the western wall of the Great Hall is the Purcell Window, completed in 1930 by Hardman & Co. Birmingham.
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Preferring regions of higher rainfall, it occurs to an altitude of 2000m above sea level, often with a clean stem in its lower half, but much-branched in the upper half, and a trunk of up to some 600mm diameter. The foliage is dark green above, paler below, dense and tufted. Leaves are digitately compound, 5-7 foliate with some 250mm long leaf stalks or petioles, and leaflets oblong, with entire but undulate margins, 10–15 cm long on short petiolules some 40mm long. Leaflets are emarginate with a terminal mucro or acute, while the base is cuneate, sometimes obliquely.
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The second- and third-story windows are rectangular, with sills projecting from the third-story windows, while the fourth-story windows are arched with terracotta surrounds. The fifth through seventh stories of the center bays contain triple-story round arches. On the eighth story, each of the center bays has three segmental arch windows with terracotta pilasters, similar to in the end bays. Triple-height arched windows The windows in the triple-height arches (the second through fourth floors on the end bays, and the fifth through seventh floors on the center bays) have cast-iron surrounds with Gothic foliate decorative elements.
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The north chapel has mirrored a more elaborate tomb niche including spandrels containing angels holding shields, and a castellated top with foliate cross. The church Perpendicular (Pevsner) or Decorated (Cox) octagonal font is c.1400, although re-cut, and includes a carving of Christ holding a chalice. Pevsner notes the church holding a chalice, cover and paten by David Willaume, dated 1711; a silver-gilt flagon by John Ward, dated 1713; a silver-gilt almsbasin by John Ward, dated 1714; a waiter by Daniel Smith & Robert Sharp, dated 1780; and a secular flagon by J. Denzilow, dated 1781.
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In 2002 and 2003, two state troopers were killed in two separate accidents by speeding trucks that drifted off the road and hit their police car conducting a traffic stop. This led the North Carolina Highway Patrol to crack down on speeding tractor trailers and speeders in general through the area. This portion of the highway is also notorious for rockslides and rocks falling onto the highway. The main cause is an engineering flaw, in that sections of the highway have been built on the north side of the Pigeon River, where the rock strata foliate towards the highway.
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The upper levels are generally finished in half-timbered stucco, in some places decorated by additional foliate carvings. Many of its leaded casement windows are antiques shipped from Europe, and the house's Great Hall has architectural features removed from an Italian monastery. The house was designed by Grosvenor Atterbury, although Aldus Chapin Higgins, the owner, had likely made sketches and other design notes for some years before hiring Atterbury. Aldus Higgins was the son of Milton Prince Higgins, founder of the Norton Company and a leading figure in the Washburn and Moen Wire Works, a major local industry.
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Rustication, carving and a balcony emphasize the central segmental- arch entrance. The first floor has square-headed windows with splayed keystones; cornice between first and second floors; stone balcony on monumental brackets in front of central window of second floor; round-arched second floor windows set within concave round-arched recesses with unusual foliate keystones; square-headed windows of third floor have keystones with smooth enframement and stylized sill corbels; stone band at impost level; modillioned roof cornice with handsome balustrades; two-story slate mansard roof pierced by segmental dormers above which are bulls-eye dormers.
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Details The church of San Zeno constituted the model for all subsequent Romanesque edifices in Verona. Built of cream-coloured tuff, the façade is divided into three vertical components, the central nave surmounted by a pediment and the two aisle with sloping rooflines, all supported upon small pendented blind arcades. The intersections of the three parts are marked by angled pilasters ending in foliate capitals below the pediment. Across the façade, at the level of the door lintel, runs a shallow arcade of paired arches, divided by thin paired colonettes identical to those found above in the rose window.
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Friezes carved in the two-plane relief manner of Lombard Comacine masons, of foliate scrolls with animal heads, inhabited with human and animal figures, relieve the masonry walls. The ceiling vaults glitter with mosaics of tesserae of gold leaf under glass, embedded with moulded stars and showing the constellations of the Zodiac. The floor is inlaid with various colored marbles in the Cosmatesque manner. At the far end a giant mosaic panel gives a bird's-eye view of Breuckelen with Manhattan in the distance beyond and the Williamsburgh Savings Bank Tower illuminated in a shaft of sunlight.
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While gustducin was known to be expressed in some taste receptor cells (TRCs), studies with rats showed that gustducin was also present in a limited subset of cells lining the stomach and intestine. These cells appear to share several feature of TRCs. Another study with humans brought to light two immunoreactive patterns for α-gustducin in human circumavallate and foliate taste cells: plasmalemmal and cytosolic. These two studies showed that gustducin is distributed through gustatory tissue and some gastric and intestinal tissue and gustducin is presented in either in the cytoplasm or in apical membranes on TRC surfaces.
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From studying Medieval windows, particularly those at Canterbury Cathedral, many stained glass artists became adept at designing foliage and decorative borders that reproduce archaeological originals. There are windows of this type in which the foliate design is overlaid with banners bearing scriptural texts. In those windows that are set with figurative rondels, the style within them is often Classical (see below) but sometimes Medievalising and sometimes seeks to reproduce the original style so accurately that to they casual eye they have the appearance of ancient windows. Ancient windows in Canterbury Cathedral were removed in the 19th century and replaced with copies.
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The house is of complex plan, and possesses some fine early 17th century panelling, as well as 4 centred Tudor fireplaces, moulded beams and a Tudor foliate boss. There is an unusual modillion cornice adorning the eastern elevation. In 1937, the architect, Sir Albert Richardson (responsible for works to Somerset House and the designer of the North London Collegiate School, Manchester Opera House and numerous other high-profile commissions) designed an extension forming a new north wing. Prior to the undertaking of those works, the house had also been extended in the 17th and 19th centuries.
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Though Eidlitz's initial design for the southern wing was supposed to be similar to that of the main building, the real plans turned out to be much different. He redesigned Kellum's neoclassical interiors with rich polychrome effects in Romanesque Revival style, and added ornamental and architectural detailing (such as arches and foliate detail) to integrate the new wing's design with the rest of the courthouse. The expanded design provided thirty monumental courtrooms around the central three-story octagonal rotunda. The New York Times criticized the new wing's design, calling it "cheap and tawdry in comparison with the elaborate finishing and classic exterior of the present structure".
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In the south chapel there is a commemorative brass plaque to William Strood and his wife Agnes, both of whom died in 1448. Also are three marble tablets to the Gregory family. One has an ogee-arched head with cinquefoil and bosses surmounted by a foliate cross, with square columns either side each topped with a crocketted pinnacle. The second--in the shape of a tomb face, of white marble and topped with coat of arms, sitting on and set in front of a black marble support--is dedicated to Daniel Gregory (died 9 June 1819, aged 72), the fourth son of George Gregory of Harlaxton and his wife, Anne.
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Included in the foliate bosses are Australian native plants such as the waratah, floral emblem of New South Wales. St Mary's Cathedral is generally approached on foot from the city through Hyde Park, where the transept front and central tower rise up behind the Archibald Fountain. During the 20th century the gardeners of Hyde Park have further enhanced the vista by laying out a garden on the cathedral side of the park in which the plantings have often taken the form of a cross. Despite the many English features of the architecture including its interior and chancel termination, the entrance façade is not English at all.
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270 This new style featured elongated beasts intertwined into symmetrical shapes, and can be dated to the mid-7th century based on the accepted dating of examples in the Sutton Hoo treasure. The most elaborate interlaced zoomorphics occur in Viking Age art of the Urnes style (arising before 1050), where tendrils of foliate designs intertwine with the stylized animals.Graham- Campbell 1980, pp. 150-151 The full-flowering of Northern European interlace occurred in the Insular art of the British Isles, where the animal style ornament of Northern Europe blended with ribbon knotwork and Christian influences in such works as the Book of Kells and the Cross of Cong.
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Dating to , it commemorates a priest, thought to be either William de la Mare, Provost of Beverley or his brother Thomas, vicar of Welwick. It is of the highest quality and enriched with flowing tracery, foliate carving, figures of saints and angels, the symbols of the Evangelists and the Passion, and heraldry. Under an ogee canopy with a ribbed vault lies the effigy of a priest in mass vestments. Pevsner attributes the monument to one of the carvers of the Percy tomb in Beverley Minster, and assigns the south doorway with its sculpture (described above) to the same Beverley workshop which produced these tombs.
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The nave is "comparatively wide" and has three bays, each with a lancet window which on the outside extends well above the low, steeply sloping roofline, forming a series of gabled dormer windows—an appearance which contributes to the many- angled, "highly picturesque outline". Flanking the nave are the aisles with arcades of differing appearance, despite being built around the same time in the 13th century. The "beautiful" south arcade has octagonal piers and shafts of Purbeck Marble with richly detailed foliate capitals, similar to contemporary work at nearby Chichester Cathedral and Boxgrove Priory church. Although built at the same time, the north arcade is simpler and plainer, with round columns.
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Here the carving of the foliage is varied and vigorous, the springing leaves and deep undercuts casting shadows that contrast with the surface of the piers. In the transepts and towards the crossing in the nave the capitals have many small figurative carvings among the leaves. These include a man with toothache and a series of four scenes depicting the "Wages of Sin" in a narrative of fruit stealers who creep into an orchard and are then beaten by the farmer. Another well-known carving is in the north transept aisle: a foliate corbel, on which climbs a lizard, sometimes identified as a salamander, a symbol of eternal life.
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In 1659 a new brick tower, modelled on St Matthews in Battersea, was erected at the NE corner of the original structure. Among notable interior features are an early brass of 1370, the dogtooth mouldings of the chancel arch and the imposing arcades and foliate capitals of the Nave. To date All Saints has undergone two major restorations, the first in 1847 by the architect Benjamin Ferrey and the second in 1871 under the guidance of Sir George Gilbert Scott. In 1995 the "National Association of Decorative and Fine Arts Societies" (NADFAS) declared All Saints to be one of the finest examples of architecture of its style in the country.
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The chancel arch is plain, supported on circular shafts with richly foliated capitals. The priest's door to the south is elegant; the head is a segmented arch boldly trifoliated the cusps are terminated with fleur-de-lys. In the east wall of the transept is a niche leaf with beautiful moulding of foliate design In the south-east angle of the transept is a beautiful Early English double piscina under two trefoil arches one in each wall supported on three circular shafts the central shaft being in the angle of the walls In the chancel are two ancient benches with well carved poppy heads. The font is Norman.
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The overall impression created is one of mass and dignity. The 2 ½ story structure rests on a raised basement and is dominated by a colossal offset tower to the left of the massive main entrance portal and by smaller, secondary prominences such as steeply pitched wall dormers and an octagonal turret on the corner to the right of the main portal. This massive portal is flanked on its left by a large smooth shaft column with Byzantine capital; the place of its mate on the opposite side is occupied by the heavy main tower. The spandrels of the portal arch are decorated with a delicate, foliate relief pattern.
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The earliest layers of human habitation in the cave, dating from 85,000-82,000 years ago, contain evidence of a pre-Mousterian industry where no evidence of the Levallois lithic technology is apparent. The following (newer) layers contain side scrapers, small radial Levallois cores, and thin, bifacially worked foliate points typical of the Aterian technological industries. These Aterian layers were dated to come from approximately 32,000 to >40,000 years ago, though other research has found a non-Levallois industry continuing at the site until 25,000 years ago. By about 21,000 years ago, the Iberomaurusian industry marked by microlithic backed bladelets became the dominant archaeological material, which has been found at the site.
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Chatterjea's researches were focused on the hematological aspects of tropical diseases and his studies on the human red blood cells widened the understanding of the etiopathogenetic aspects of hereditary disorders. His work covered the roles played by iron, folic acid, vitamin B12 and conjugate foliate compounds in human system and assisted him in the discovery of Hemoglobin E in Bengali people. His inquiries led to the clinical, hematological, biochemical, biophysical and the genetical studies of Hemoglobin E/β-thalassaemia prevalent in Bengal region. He documented his researches by way of several medical papers published in peer-reviewed journals and his work has been cited by a number of authors and researchers.
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The statuette looks like a young man who in full height stands on a foliate base. The man wears a gown on which there are characteristic ornaments of Urartian period: a quadrangle with a rosette in the centre, a belt on his waist, a fringed band over his shoulder. Hair of God Teisheba go down over his shoulders, on head he has a high headgear covered with horns, which represent the bull, the symbol of Teisheba. On the left hand of the statuette there is a battle-axe, and on the right hand a disc-shaped mace, his left arm is folded in the elbow.
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The Charles Chamberlain House was located west of downtown Worcester, on the south side of Pleasant Street between the city's Pleasant and Winslow Park, and the Worcester Seventh-Day Adventist Church, which it shared its lot with. It was a 2-1/2 story wood frame structure, with an L-shaped plan covered by gabled roofs. Its Victorian detailing was an eclectic mix, with spindled Stick style bargeboard in its gables, vertical board siding, a porch supported by delicate turned posts with foliate capitals, and decorated gable aprons. Sash windows were set in rectangular openings topped by lintels with peaked gables, and sills supported by small brackets.
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Separating the nave from the 19th-century north aisle is a further arcade—part of the Scott rebuilding—with similar octagonal piers to the nave arcade, but with added hood moulds, and foliate label stops that English Heritage describes as "incongruously decorated Southwell-style." The north aisle, now also known as The Arnhem Aisle, contains a series of stained glass windows to the Royal Corps of Signals, while the east stained window is a 1902 dedication to George Henry Minnit, died 1900 at Frieston. Between the nave and the chancel is a four-arch crossing which runs under the tower, with shallow transepts to the north and south. The arches are of 13th-century Decorative period and style.
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View of the cloister showing tracery in the Spanish style The original cloister was a Romanesque structure, dating to the late 12th-early 13th century. All that remains of the first cloister is a hexagonal central shrine, containing the laundry By request of King James II, the original cloister was largely demolished and replaced by a Gothic cloister designed by Reynard of Fonoll, whose work was continued by his disciple Guillem de Seguer. The style of tracery which fills the upper parts of each ogival opening in the cloister arcade varies from English Geometric to Catalan in design. The clustered columns have highly ornamented capitals with foliate, animal and human figures, as well as biblical scenes.
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Dr. Irving Greenfield's work has appeared in a variety of media. Greenfield's short stories have appeared in several publications, including Amsterdam Quarterly, The Vignette Review, A Thousand and One Stories, Maudlin House, Hippocampus Magazine, Electron Magazine, Chicago Literati, The Stone Canoe (electronic edition), The Stone Hobo, Contraposition, The Furious Gazelle, Festival Writer, Shadowgraph, Way Too Fantasy, Prime Mincer, Lavender Wolves Literary Journal, eFiction Mag, Foliate Oak Literary Magazine, The Note, Sleet Magazine, Barking Sycamores, Writing for Tomorrow, The Raven's Perch, Brawler, Runaway Parade, and Amarillo Bay. Universal International adapted his novel Tagget into a 1991 film for TV starring Daniel J. Travanti. Greenfield has additionally published one-act and full-length plays, to much critical acclaim.
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A man's waistcoat with sleeves of 1747 is a rare example of eighteenth century clothing for which the garment itself, the original textile design, and a dated record of both the designer and the master weaver who made the fabric have also survived. The waistcoat is part of the collection of the Costume Institute at the Metropolitan Museum of Art in New York, number C.I.66.14.2. The waiscoat is made of "porcelain blue silk with a rich brocading of silver and silver-gilt foliate forms entwined with realistic flowers in polychrome silk on fronts, skirts, pocket flaps, and cuffs". It would have been worn under a full-skirted coat with matching breeches.
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Early masters of French marquetry were the Fleming Pierre Golle and his son-in-law, André-Charles Boulle, who founded a dynasty of royal and Parisian cabinet-makers (ébénistes) and gave his name to a technique of marquetry employing tortoiseshell and brass with pewter in arabesque or intricately foliate designs. Boulle marquetry dropped out of favor in the 1720s, but was revived in the 1780s. In the decades between, carefully matched quarter-sawn veneers sawn from the same piece of timber were arranged symmetrically on case pieces and contrasted with gilt- bronze mounts. Floral marquetry came into favor in Parisian furniture in the 1750s, employed by cabinet-makers like Bernard van Risenbergh, Jean-Pierre Latz and Simon-François Oeben.
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At the key-stone of each bay rests a demi-angel playing a different musical instrument. These musical angels were likely inspired by similar examples at Melrose Abbey and Rosslyn Chapel. Between foliate bosses – many of which depict national flowers of the countries of the United Kingdom of Great Britain and Ireland – a stage of bosses take the form of angels bearing the escutcheons of the eight Knights at the time of the Order’s foundation and the six Knights added by Queen Anne. The massive central bosses depict, from west to east, the Royal arms of Scotland, Saint Giles, the star of the Order of the Thistle, Saint Andrew, and the Pelican in her piety.
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The first entrepreneur, Louis Hinard, a native of Beauvais who had already established workshops in Paris, produced unambitious floral and foliate tapestries called verdures and landscape tapestries, which are known through chance notations in royal accounts. He was arrested for his debts in 1684, and the workshops were refounded more successfully under Philippe Behagle, a merchant tapestry- manufacturer from Oudenarde, who had also worked in the traditional tapestry- weaving city of Tournai. Behagle's first successes were a suite of Conquests of the KingThe cartoons were by the battle painter Jean-Baptiste Martin (Weigert 1962:125). which complemented a contemporaneous Gobelins suite showing episodes in the Life of the King, without directly competing with them.
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6 His sword was marked W. WALSHEID/SOLINGEN in two lines on side of the longer than standard ricasso, and had a small brass disk impressed on the other side of the ricasso that read in an arc "PROVED". The blade featured a panoply of arms with a spread-winged eagle, along with a banner reading E PLURIBUS UNUM and embellished with etched floral and patriotic banners and motifs such as a drum on one side of the blade. The other side featured a similar foliate banner, with a large U.S. in the center. The wooden grip was wrapped with sharkskin and secured with seven turns of gilded copper wire that has a twisted center strand and two single flanking strands.
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It is also possible that it was sometimes made by holding a blade-like tool against the vessel as it turned on the wheel, allowing the tool to judder against the surface of the clay. and the relief-decorated surfaces necessarily fall into two narrow zones. These were usually decorated with floral and foliate designs of wreaths and scrolls at first: the Dr.29 resting on its rim illustrated in the lead section of this article is an early example, less angular than the developed form of the 60s and 70s, with decoration consisting of simple, very elegant leaf-scrolls. Small human and animal figures, and more complex designs set out in separate panels, became more popular by the 70s of the 1st century.
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60-64 It has a narrow horizontal flange set below the upright rim and decorated with scroll patterns inlaid in niello, and a small nielloed rosette within the centre base. It has a high, domed lid that fits neatly over the vertical rim and has been decorated in a very different style, with two friezes of low-relief decoration. The upper zone consists of conventional foliate ornament, while the lower is a scene of centaurs attacking various wild animals, separated by Bacchic masks. The small raised rim at the top of the lid would have sufficed for handling it, but set within it is a 'knob' in the form of a silver-gilt statuette of a young, seated triton blowing a conch shell.
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A 2008 view from Hyde Park Terrace, including entrances and severely blackened tower Externally, the church is constructed in rock-faced gritstone, with ashlar details and a pitched slate roof. The building was designed by local architect James Fraser and is in the Gothic Revival style. Though blackened by pollution damage, the exterior is noted for a tall southeastern tower of three stages, with shallow corner buttresses, a pair of lancet windows and carved corbels in the form of angels and grotesques, with an octagonal bell stage, surmounted by a tall stone spire, considered to be a significant local landmark. The elegant Victorian interior is a five-bay nave with a floor of red and black tiles, polished marble columns, foliate capitals and chamfered pointed arches.
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Gregg, p. 57 and so created a church that is "a dimly lit cavern of glowing mosaic surfaces ... and vibrant, stained-glass windows". The church is richly decorated throughout, its architectural features carved with formalized foliate ornament, and the walls adorned with mosaics in the Byzantine manner. Even though the church was dedicated in 1903, interior decoration took another two years to complete, with the installation of the mosaics and the carving of the extensive quotations on the walls occurring simultaneously.Gregg, p. 23 There are 29 large carvings of quatrefoils that contain ancient religious symbols in the walls of church's west and east transepts. The stained-glass windows were crafted by J. and R. Lamb of New York.Hall, p. 35 Its exposed-timber ceilings are modeled after Boston's Trinity Church.
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The Cavalry Parade Helmet and Visor was found in the River Wensum at Worthing in 1947 and 1950 respectively. The items, of Roman origin, date to the first half of the third century CE. They are an important testimony of the presence of Roman army personnel in central Norfolk during the later period of the Roman occupation. The helmet is made from a single sheet of gilded bronze, highly decorated as to represent a feathered eagle's head on the crest, foliate-tailed beasts on either side and a plain triangular front panel with feather borders on either side at the top, with the lower ends terminating in birds' heads. The visor mask complements the helmet by carrying similar repoussé decoration, depicting Mars on one side and Victory on the other.
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The monument has a white marble surround with a broken segmental pediment with rolled terminals and with festoons or swags over, surmounted by a free-carved and painted shield and crest. The entablature projects over a pair of free Ionian columns, which rest below on a black marble corbel-table supported beneath by white grooved and rolled foliate consoles. Between the columns the inscription appears on a large black marble tablet framed by white marble moulding with an applied cherub's face with wings at the top, and a small heraldic shield indented at each corner. Beneath the corbel-table, between the consoles is inset a black marble stone inscribed "Memoria justi benedicta", and below this is inset a pair of fruit-cluster festoons suspended from hanging linen swags, carved in high relief.
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The career of Farouk Abdulaziz had been quite multi-foliate since its inception some 45 years ago. Before obtaining his BA degree in English literature from the Faculty of Arts in Cairo University, he was involved in writing comic strips for Disney's Middle East Arabic language franchise; the weekly Mickey where he published his noted one-year-long series The Gates of Cairo (1967–1968). Working with writer Congressman Paul Findley during a Dubai shoot of Farouq's new 2012 documentary Fresh from college in 1968 Farouk had managed to hammer his way up to the then Arab world's most prestigious literary and art publication; Cairo's monthly Al Majallah ('The Magazine') to publish his translation of Paul Klee's lecture in book form on Modern Art in Arabic. The impact was sensational and immediate.
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Erdmann also established the structural analysis as a means to determine the historical framework of rug weaving traditions within the Islamic world. The replacement of floral and foliate ornaments by geometrical designs, and the substitution of the earlier "infinite repeat" by large, centered compositions of ornaments, occurring during the turn between the fifteenth and sixteenth century was first described by Erdmann, and termed the "pattern", or "carpet design revolution". While oriental rugs and Sasanian art were his two main fields of interest, Erdmann also worked on a variety of other subjects, including Achaemenid art, and Turkish roadside inn architecture. His work at the Berlin museum resulted in publications on groups and single works of pre-Islamic and Islamic art, including detailed descriptions of acquisitions made by the Berlin Museum.
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The tail is rendered as a triple tendril, the particular treatment of which on the Mammen axe – with open, hook-like ends – forming a characteristic of the Mammen Style as a whole. Complicating the design is the bird's head-lappet, interlacing twice with neck and right wing, whilst also sprouting tendrils along the blade edge. At the top, near the haft, the Mammen axe features an interlaced knot on one side, a triangular human mask (with large nose, moustache and spiral beard) on the other; the latter would prove a favoured Mammen Style motif carried over from earlier styles. On the other side, the Mammen axe bears a spreading foliate (leaf) design, emanating from spirals at the base with thin, 'pelleted' tendrils spreading and intertwining across the axe head towards the haft.
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It was here that Blacket was able to really indulge a love of Flowing Decorated ornamentation. There are three very large windows, of seven and six lights in the chancel and transept ends, each with highly elaborate and distinct tracery, inspired by, but not identical to, famous Medieval windows. That in the North transept has a wheel based on the Visconti emblem of a window in Milan Cathedral, but by the judicious placement of two small tracery lights, Blacket has turned it into a sunflower, an emblem frequently used by one of the stained glass firms he employed, Lyon and Cottier. Other decorative features include the foliate carving of the capitals, much of it in the stiff- leaf style of Wells Cathedral; pierced cinquefoil openings in panels above the hammerbeams; and a screen of white New Zealand stone.
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The Mogul Mughal Emerald is one of the largest emeralds known. Auction house Christie's described it as: > The rectangular-cut emerald known as 'The Mogul Mughal' weighing 217.80 > carats, the obverse engraved with Shi'a invocations in elegant naskh script, > dated 1107 A.H., the reverse carved all over with foliate decoration, the > central rosette flanked by single large poppy flowers, with a line of three > smaller poppy flowers either side, the bevelled edges carved with cross > pattern incisions and herringbone decoration, each of the four sides drilled > for attachments, . Originally mined in Colombia, it was sold in India, where emeralds were much desired by the rulers of the Mughal Empire. The Mogul Mughal is unique among Mughal emeralds in bearing a date - 1107 A.H. (1695-1696 AD) - which is within the reign of Aurangzeb, the sixth emperor.
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The Alhambra features various styles of the Arabic epigraphy that developed under the Nasrid dynasty, and particularly under Yusuf I and Muhammad V. José Miguel Puerta Vílchez compares the walls of the Alhambra to the pages of a manuscript, drawing similarities between the zilīj-covered dados and the geometric manuscript illuminations, and the epigraphical forms in the palace to calligraphic motifs in contemporary Arabic manuscripts. The texts of the Alhambra include "devout, regal, votive, and Quranic phrases and sentences," formed into arabesques, carved into wood and marble, and glazed onto tiles. Poets of the Narsid court, including Ibn al-Khatīb and Ibn Zamrak, composed poems for the palace. Most of the poetry is inscribed in Nasrid cursive script, while foliate and floral Kufic inscriptions—often formed into arches, columns, enjambments, and "architectural calligrams"—are generally used as decorative elements.
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13th-century glass at Canterbury Cathedral is full of lively narratives set in roundels surrounded by foliate scrolls, adopted by many 19th-century designers including Clutterbuck, William Wailes and Ward and Hughes York Minster also contains much of its original glass including important narrative windows of the Norman period, the famous "Five Sister" windows, the 14th-century west window and 15th-century east window. The "Five Sisters", although repaired countless times so that they now contain a spider's web of lead, still reveal their delicate pattern of simple geometric shapes enhanced by grisaille painting. They were the style of window which was most easily imitated by early 19th-century plumber-glaziers. The east and west windows of York are outstanding examples because in each case they are huge, intact, at their original location and by a known craftsman.
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Warrington was able to reproduce closely the geometric and foliate backgrounds of the 13th century and create pictorial rondels composed of small pieces of glass that gave a similar impression to the Medieval originals, though tending to let through more light and have less luminosity, because the nature of the glass was less flawed and therefore less refractive. Warrington's windows often contain a background comprising a distinctive pattern of little red and blue diagonal checks which was copied from medieval originals. Many of Warrington's Gothic Revival windows have a pleasant simplicity about them, the stylised foliage which takes up much of the window space being less heavy in appearance than some of his rivals, such as Clutterbuck, and based more closely upon recognisable plants. The balance and arrangements of pictorial scenes within their formal background shows Warrington as a much more skilful designer than his teacher Willement, in whose windows the overall arrangement has a fairly arbitrary quality.
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From 1978 till 2006, Mohammad's works were featured in 20 solo exhibitions locally and overseas, such as People and Landscape, shown across Singapore, Malaysia, and Indonesia in 1978; Wishy and Washy in 1980; Memories of South East Asia, shown across Singapore, Malaysia, and Indonesia in 1983; Mystical and Tailsmanic Energy in 1994; Flora and Foliate in 1997; Inspiration Mystique at Paris, France in 2000; Paris Experiences in 2000; Zikr – Hands on Calligraphy at Malaysia in 2000; Towards Self-Unification at Paris, France in 2001; Experience and Memories at Turkey in 2003; Flowers and BMW Cars at Hong Kong in 2004. His work was also posthumously exhibited for Mystical Manoeuvre in Malaysia in 2007. Following his death, his family members opened a gallery in 2008, Galeri Mohammad Din Mohammad, in Malacca, Malaysia to commemorate Mohammad. His practice was posthumously featured in 2008 for Archives and Desires: A Tribute to Late Artist Mohammad Din Mohammad at the NUS Museum, curated by Shabbir Hussain Mustafa.
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In 2019 he collaborated with poet Simon Armitage on an illustrated book retelling the story of Hansel and Gretel, published by Design for Today.Simon Armitage, Hansel & Gretel: A Nightmare in Eight Scenes (2019: Design for Today, London) He has produced cover images and text decorations for commercially published books, such as Val/Orson, Thaliad, The Foliate Head, Glimmerglass, Maze of Blood and The Book of the Red King all by Marly Youmans, Star-Shot by Mary-Ann Constantine, Witch and Judas by Damian Walford Davies and Sir Gawain and the Green Knight by Simon Armitage. Poets have been drawn to respond to Hicks-Jenkins' work, as discussed in an essay by Professor Damian Walford Davies."Furious Embrace: Clive Hicks-Jenkins Among the Poets", in Callow, Simon, Andrew Green, Rex Harley, Clive Hicks-Jenkins, Kathe Koja, Anita Mills, Montserrat Prat, Jacqueline Thalmann, Damian Walford Davies and Marly Youmans, Clive Hicks- Jenkins (2011: Lund Humphries) , pp. 173–89.
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The exfoliating bark of the Paperbark Maple Acer griseum Exfoliation (from the term "foliate", meaning “related to leaves”) means the removal or loss of leaves from a plant. It is used both to describe the loss of a leaves as a natural part of a plant's life cycle (such as in the case of deciduous trees which lose their leaves in the autumn) or because of some trauma or outside cause (such as dehydration, an infestation of caterpillars or hurricane-force winds). In arboriculture, the term “exfoliating bark” describes the natural process and condition of the bark peeling-away from a tree trunk, typically in large pieces that remain partially attached to the trunk until such time as they are completely detached by the elements or the eventual and subsequent exfoliation of additional layers of bark. Examples of trees with exfoliating bark are the paperbark maple and various species of Plane (Sycamore) and birch.
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Recent research reveals a potential taste receptor called the CD36 receptor. CD36 was targeted as a possible lipid taste receptor because it binds to fat molecules (more specifically, long-chain fatty acids), and it has been localized to taste bud cells (specifically, the circumvallate and foliate papillae). There is a debate over whether we can truly taste fats, and supporters of our ability to taste free fatty acids (FFAs) have based the argument on a few main points: there is an evolutionary advantage to oral fat detection; a potential fat receptor has been located on taste bud cells; fatty acids evoke specific responses that activate gustatory neurons, similar to other currently accepted tastes; and, there is a physiological response to the presence of oral fat. Although CD36 has been studied primarily in mice, research examining human subjects' ability to taste fats found that those with high levels of CD36 expression were more sensitive to tasting fat than were those with low levels of CD36 expression; this study points to a clear association between CD36 receptor quantity and the ability to taste fat.
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