Still, Jim Comey's firing now brings two points into high relief.
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But they succeed wonderfully in putting our wiring differences into high relief.
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Treasury & Mint officials unveiled the 2017 American Liberty High Relief Gold Coin!
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Others have rib cages jutting out in high relief, like cartoons of shipwreck survivors.
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Jamie Fitzpatrick is known for his high relief and highly colorful wax and foam figures.
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In the past few months, revelations about Facebook have thrown those questions into high relief.
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But since 2016, Rohrabacher's odd Russophilia has been thrown into high relief by the Russia investigation.
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The U.S. Mint and Treasury is making history with its 2017 American Liberty High Relief Gold Coin.
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Navy is the best color—light colors show wine stains, and black can throw dust into high relief.
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At the same time, a background of such uncertainty throws even the subtlest formal gesture into high relief.
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In 2015, two separate studies were released that put the problems of "no excuses" education in high relief.
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It made the process of digestion easier to study, because every nuance could be seen in high relief.
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The contrasts that emerge are compelling, placing in high relief the circumstances and qualities of animate versus inanimate life.
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This election season brought the differences keeping Meredith isolated from her family, and Jacy alienated from her best friend, into high relief.
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And the impasse — Washington wishing to rid North Korea of nuclear weapons, Pyongyang wishing to keep them — will return in high relief.
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This occurs to me when I revisit images of Bob Clyatt's high relief wall sculptures in his current exhibition at Anthony Philip Fine Art.
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Fabián, Ángel and Alejandra are joined in a classic triangle, which Verónica and the alien throw into high relief even as they disrupt it.
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Called the "Camel Site," it's the first discovery of realistic, life-sized camels and horses carved in low- and high-relief in the Arabian Peninsula.
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But Little Woods illustrates, in high relief, just how catastrophic a lack of abortion access can have on the lives of women in rural America.
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At sunset, the fading light paints everything in flickering high relief, and when the rains come, the sound drums down hypnotically on the taut canvas.
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The tension between Nussbaum's discreet and dangerous self-possession and the hostile forces around him is searing, and it shows his precarious individuality in high relief.
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The divergent political climate between the United States of Mr. Trump and the Canada of Prime Minister Justin Trudeau is throwing other trends into high relief.
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Mary brings the Creature's unthinking and violent misogyny into high relief — but she can also appreciate his desperate hunger for affection and his miserable love for beauty.
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Luca went on to accept more, and more prestigious, commissions in Florence itself, many of them high-relief depictions of the Virgin and Child for private altarpieces.
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The sequence of high-relief panels that once lined the altar staircase depicts a mortal clash between the major Greek gods and a race of marauding giants.
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The area's harsh conditions have also left little traces of the tools that were used to depict the mammals, which are carved in both low and high relief.
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To create high-relief details in crevices that were hard to reach, tools were snaked through slits that were concealed in representations of ribbed ceilings and saints' clothing.
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While Google regularly decides the future of technology without democratic public engagement, its entry into military technologies casts the problems of private control of information infrastructure into high relief.
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Who can forget how this mindset was exposed in high relief when former DNC chair Debbie Wasserman Schultz was asked to define the difference between a Democrat and a Socialist.
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Last week's NATO meetings brought that into high relief with Macron's characterization of NATO's strategy as "brain dead," as he attempted to shift the focus from Russia to Islamic extremism.
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And for some, it put in high relief the loss of a city's character as rising rents and tightening laws make the metropolis ever more sanitized — and that much more boring.
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During a preview of the show, the decorative arts curator Charlotte Vignon and the conservator Joseph Godla explained how Mr. Gouthière's workshop molded foliage, fruit, animals, gods and goddesses in high relief.
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Another wall carving, rendered in high relief, arrived from the Roman city walls of Lincoln at East Bight, while one from Long Bennington shows a figure mounted on a two-legged phallus.
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And, that requires a very clear, agenda for retraining police officers, looking at ways to end racial profiling, finding more ways to really bring the disparities that stalk our country into high relief.
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The same principle is put to work with similar effect on artists characterized by their preference for impasto technique, where paint is laid so thickly as to become semi-sculptural, almost high-relief.
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And that requires a very clear agenda for retraining police officers, looking at ways to end racial profiling, finding more ways to really bring the disparities that stalk our country into high relief.
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This feels so formulaic — as does the romance between Desmond and Dorothy — that I suspect it's a tactic to lull viewers into complacency, the better to throw the upcoming battle scenes into high relief.
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"The obverse design of the medallion features an affirmative handshake between the two leaders, minted with high-relief minting technique, and the national flags of both countries," according to a description from the mint.
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So are the arches and hanging lamps of the Pont de Bercy, the high-relief sculptures on the Pont d'Austerlitz, and the medallions on the N monograms, in honor of Napoléon III, on the Pont au Change.
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"The issues come into high relief when one lifts the unpopular business of landfill operation out of the equation and replaces it with, say, a German bank owned by an objectionable religious minority in the year 123," he wrote.
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A good place to start is Episode 65, the first of his two-parter on Augustus Saint-Gaudens, the 19th-century master of high relief sculpture who gave the public monuments and coins that had the expressive quality of line drawings.
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A Netherlandish artist, from the circle of Rogier van der Weyden — possibly Vrancke van der Stockt — created "Men Shoveling Chairs," a study for a high-relief carving for a pillar that is an amusing exegesis on both movement and chair design.
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" Clinton, meanwhile, responded by saying "systemic racism in our criminal justice system and that requires a very clear agenda for retraining police officers, looking at ways to end racial profiling, finding more ways to really bring the disparities that stalk our country into high relief.
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Still, Keenan struggles to parse the emotional fallout of finding her kink satisfied, a point that falls into high relief when she realizes that a neighbor has seen her getting spanked and worries that the woman will think that what she witnessed was abuse.
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Experiencing Chicago from this vantage point packs the same perspective punch as viewing Manhattan from the High Line, revealing the city in new and invigorating ways: We see collections of tall buildings, the streets between them, and people, all presented episodically and in high relief.
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Since early 2017 his team has been making a copy of a swathe of the huge, high-relief frieze around the base of the Pergamon Altar—a pinnacle of Hellenistic art, dating from the second century BC—for the China Academy of Art (CAA), based in Hangzhou.
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On shows like Donald Glover's "Atlanta" on FX and Issa Rae's "Insecure" on HBO, both about a group of late-20-somethings professionally striving and financially struggling (and both, along with "black-ish," nominated for Golden Globes), the theme of black downward mobility is put into high relief.
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The relentlessly busy life, aesthetic proclivities and multimedia achievements of Lincoln Kirstein — this country's most catalytic balletomane — are in high relief right now in New York, thanks to two exhibitions, "Lincoln Kirstein's Modern," at the Museum of Modern Art, and "The Young and Evil" at David Zwirner in Chelsea.
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"I think the bright line is, and we've learned in high relief, is that a history of how someone has participated in elections -- not how they voted, but whether or not they voted -- is something, along with some of their identifying information, that we wouldn't release anyway, nonetheless really upsets people," Dunlap said.
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The conflict came into high relief at a recent event at Greenlight, a bookstore of predictably bohemian sensibilities in Brooklyn where people gathered to hear the owners of the Emily restaurants, Emily and Matt Hyland, talk about their new cookbook ("Emily: The Cookbook") with my colleague Sam Sifton, food editor at The Times.
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During her eight years in the Senate, she has amassed a record far more liberal than her earlier political dealings would have predicted, reversing her position on guns, being a co-sponsor of the Dream Act and challenging the military on sexual assault issues, but it is now, in this explosive moment, that her transformation has come into high relief.
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Where: 1419 East Adams Boulevard, Central-Alameda, Los Angeles Hours: 10am–5pm, Tuesday through Friday; 11am–6pm, Saturday; or by appointment (free admission) A multi-generational printmaking studio founded by the Remba family in 1984, Mixografia traces its history back to Mexico City, where its precursor, the Taller de Gráfica Mexicana, innovated a technique to produce three-dimensional, high-relief prints in collaboration with artist Rufino Tamayo.
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Within the exhibition's premise, it might be reasonable to view the entire work as a kind of portal between actuality and fantasy, which is an argument that can easily be made for Joseph Cornell's "Soap Bubble Box" (183), a construction in dark wood that nearly blends into the dark wall, throwing its encased objects — a set of stemware; a vintage bubble pipe; an antique astronomical chart — into high relief.
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Style V vessels have decoration in a very high relief.
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The coin was finally modified to a normal-relief version, which was minted from 1907 to 1933. The Saint-Gaudens obverse design was reused in the American Eagle gold bullion coins that were instituted in 1986. An "ultra-high relief" $20 (24 karat) gold coin was issued by the U.S. Mint in 2009.2009 Ultra High Relief Double Eagle. 2009 Ultra High Relief Double Eagle.
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Duquesne University's coat of arms is carved in high relief above Canevin Hall.
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Yeoman, p. 272. The coin was then adapted into the High relief version, which, although requiring eight fewer strikes than the Ultra High Relief coins, was still deemed impractical for commerce. 12,317 of these were minted, and are currently among the most in-demand U.S. coins.
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Ruberg created leather artwork in low relief using traditional leather tooling methods and in high relief using a technique he developed himself. The high relief technique relies on applying a homemade paste to the reverse side of a leather piece for support, and then wrinkling, twisting, squeezing the front side to form three-dimensional shapes.
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Montserrat, in contrast, interprets MS 5236 as a high relief, which was created by relief printing. However, this assumption is—as Brekle states (p. 2–3)—flawed in several ways, as it was beyond the technical capabilities of the time to carve out the very delicate and fragile double lines in high relief from the stamp surface. Moreover, this procedure would have needed the high-relief stamp to be pressed through the gold foil from the reverse side—a method, however, by which the letter impressions would have appeared too blurred.
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Betsy Wolfston is an American ceramicist whose works include large public installations and smaller high-relief tiles. She is based in Eugene, Oregon.
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Holy birds with necklaces and waving scarves, which were divided by conditionally interpreted tree, are depicted on the trunk with not high relief.
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This is in two pieces and is carved with foliage in high relief. It is described as being "remarkable", and as a "great treasure".
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In June 2012, Steven purchased the highest grade “Ultra High Relief” 1907 Saint Gaudens Double Eagle (PR69) nicknamed “America’s Most Beautiful Coin Design” by experts.
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The relief of a mineral refers to the way a mineral may stand out in plane polarized light. A mineral may be referred to as having a low or high relief. Minerals with a high relief, such as annite, have sharp grain boundaries and display good fracture and cleavage. When viewed under a microscope, this mineral may appear to stick out of the other minerals in the thin section.
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Brovskogo recommended him to Nikolai Ramazanov, a professor at the Moscow School of Painting, Sculpture and Architecture, and advised Ramazanov to take the talented young man into the institution. There, Chizhov began to systematically study sculpture and quickly showed his adeptness. In 1858, he fashioned a high relief sculpture, "Champions", for which the school awarded him a silver medal. Another high relief, "Agony of the Saviour", also won Chizhov a silver medal.
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Hammered : A coin that has been struck by hand, using dies and a hammer. High Relief : A coin with the raised design high above the field. Coins struck in high relief often have problems with details not coming up sharp enough and dies having a shorter than usual lifespan. If the design is higher than the rim, the coin may not be stackable, and the highest points of the design will wear away very quickly.
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Since one of these blocks was inscribed with a number of hieroglyphics in high relief, it is very plausible that an Ancient Egyptian monument existed in close proximity to this site.
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Alberto Mazzacchera, "Palazzo Tiranni" He contributed five high-relief panels to a vaulted ceiling in Palazzo Corboli, Urbino, adapting designs by Taddeo Zuccari, who was working at Villa Giulia when Brandani was there.This ceiling was reinstalled in the Palazzo Ducale in 1918; the designs of the high-relief vignettes by Taddeo Zuccari, were originally intended for a maiolica service (J. A. Gere, "Taddeo Zuccaro as a Designer for Maiolica" The Burlington Magazine 105 No. 724 (July 1963, pp. 304, 306–315) pp.309f).
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To designate them, scholars usually number them from left to right with Roman numerals. They were carved on practically square Pentelic marble slabs: 1.20 meters high for a variable width, but averaging 1.25 meters. Originally, the block of marble measured 35 centimeters thick: the sculptures were made in high relief, even in very high relief at the edge of the round-bump, standing out about 25 centimeters. The metopes were a dozen meters high and had an average of two characters each.
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The Saint-Sauveur church in Bouvron, Loire-Atlantique suffered much war damage in the 1939-1945 war and in 1955 Fréour created a high relief sculpture entitled "Le Bon Pasteur" for the church façade.
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Thus figures in the foreground are sculptured in high-relief, those in the background in low-relief, which creates a three-dimensional painting on wood panel painted in enamel and embellished with gold leaf.
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The quality of clothing was defined by the type of embroidery. Spruce Erzya shirt was embroidered all along longitudinal stripes. Erzya embroidery was characterized by a beautiful carpet texture, borders and planes distinguished high relief.
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The high relief of the pediment, called The Genius of America, and the statues of the niches, highly degraded, are deposited before being replaced by marble replicas, by Bruno Mankowski, George Gianetti and Paul Manship.
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The Prince of Wales's feathers appear in high relief at the front of the bed, while at the rear is the inscription, "Constructed in the Royal Carriage Department. Earl of Mulgrave, Master General - A.D. 1814".
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These are also seen in the enormous strips of reliefs that wound around Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture, their reliefs were typically not as high as in Ancient Greece.Avery, ii and iii Very high relief re-emerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neoclassical pediments and public monuments.
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Prominent pairs of lamassu were typically placed at entrances in palaces, facing the street and also internal courtyards. They were "double-aspect" figures on corners, in high relief, a type earlier found in Hittite art. From the front they appear to stand, and from the side, walk, and in earlier versions have five legs, as is apparent when viewed obliquely. Lamassu do not generally appear as large figures in the low-relief schemes running round palace rooms, where winged genie figures are common, but they sometimes appear within narrative reliefs, apparently protecting the Assyrians.Frankfort, 147–148, 154; Reade, 28-29 The colossal entrance way figures were often followed by a hero grasping a wriggling lion, also colossal and in high relief; these and some genies beside lamassu are generally the only other types of high relief in Assyrian sculpture.
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A high relief of the Madonna of the Rosary by an unknown author, is at the origin of the dedication of the altar. On the altar a painted wooden statue of a Madonna of the fifteenth century.
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Above the harp a high relief crown. Surrounding the design are the words ULSTER DEFENCE REGIMENT. The medal hangs from a 32 mm dark green ribbon with a golden yellow centre stripe flanked by thin red stripes.
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The scamp grouper is found at depths of , the adults are found over rock ledges and rocky bottoms with high relief usually deeper than . Juveniles are found in reefs in shallower water and will enter estuaries amd mangroves. The adults will migrate from deep water to shallower water when the temperature drops below at the bottom of the water column. It is a protogynous hermaphrodite forming small, short-lived spawning aggregations, which may be ten to a few hundred strong over offshore reefs with high relief along the edge of the continental shelf.
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They were represented as "double- aspect" figures on corners, in high relief. From the front they appear to stand, and from the side, walk, and in earlier versions have five legs, as is apparent when viewed obliquely. Lumasi do not generally appear as large figures in the low-relief schemes running round palace rooms, where winged genie figures are common, but they sometimes appear within narrative reliefs, apparently protecting the Assyrians.Frankfort, 147–148 The colossal entranceway figures were often followed by a hero grasping a wriggling lion, also colossal in scale and in high relief.
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Lycian tomb in Xanthos. The “Lion Pillar,” named because of the large lion in high relief, was located east of the Acropolis of Xanthos and stands around three meters high (around ten feet). The stone chest is made of white limestone, carved to fit the body. It has been postulated that this tomb was created between the early sixth century B.C.E. and the mid-sixth century B.C.E. Contrast is created between the high relief sculpture on the ends and the low relief sculpture in the center of the chest.
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Seven medallions, mainly depicting early American coins, decorate the street-level facade. Bas-relief figures decorate the spandrels above the building's bronze doors, which are themselves decorated by high-relief panels depicting the history of commerce and civilization.
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Thierry, Jean. Eglises et Couvents du Karabagh. Antelais, Lebanon, 1991, pages 161-165 Those include umbrella-shaped dome, cruciform floor plan, narthex (often with stalactite-ornamented ceiling), and high-relief of a large cross on one of church’s walls.
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The one- faced mukhalinga is called eka-mukhalinga, "linga with a single face". The face is created in high relief. He wears his hair piled on his head like a bun, while longer hair flow over his shoulders.Kossak p.
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Thierry, Jean. Eglises et Couvents du Karabagh. Antelais, Lebanon, 1991, pages 161-165 Those include umbrella-shaped dome, cruciform floor plan, narthex (often with stalactite-ornamented ceiling), and high-relief of a large cross on one of church's walls.
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Side of the 1907 "high relief" double eagle showing edge lettering and surface detail The Saint- Gaudens double eagle is named for the designer, Augustus Saint-Gaudens, one of the premier sculptors in American history. Theodore Roosevelt imposed upon him in his last few years to redesign the nation's coinage at the beginning of the 20th century. Saint-Gaudens' work on the high-relief $20 gold piece is considered to be one of the most extraordinary pieces of art on any American coin. The mint eventually insisted on a low-relief version, as the high-relief coin took up to eleven strikes to bring up the details and did not stack correctly for banking purposes. Only 12,367 of these coins were struck in 1907. These coins easily top the $10,000 price in circulated grades, but can reach nearly a half million dollars in the best states of preservation.
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The interior is a tall granite arcade with three bays. It has piers with moulded cup capitals and 4-centred moulded arches. The nave and north aisle have excellent barrel vault ceilings. These are original, and have high relief moulding.
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Wooden panels lining each side of the sanctuary feature high-relief statues of the twelve apostles. The reredos and sanctuary area cost $25,000. The sanctuary parquet floor, installed in 1892, depicts inlaid vines and leaves and other magnificent floral patterns.
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This mussel lives in high relief streams, under boulders and in sand. Research has shown that it is highly sensitive to increased thermal temperature. It associates with longnose and eastern blacknose dace, golden shiner, pumpkinseed, slimy sculpin and yellow perch.
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The Philadelphia Mint received the models from Ortmayer. On May 23 its superintendent, Edwin Dressel, sent O'Reilly a memorandum from Chief Engraver John R. Sinnock, stating that the sculptor's models were in too high relief, and suggesting that Ortmayer come to the mint to discuss the matter. A letter from O'Reilly to Melish on June 18 reports that after some modification, Sinnock wrote that the coin was at the very limit of high relief that the mint could coin, and that dies for the Cincinnati piece were expected to be tested by coining trial strikes in early July.
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The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief. High-relief deities at Khajuraho, India Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE).
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As a result, minimal amounts of moisture and latent heat are added to the air moving over the lake. The high relief of the Wasatch mountains further capitalizes on lake enhancement and can receive multiple feet of snow from lake-effect alone.
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Pawtucket Public Library, 1901 The Classical Revival building features ionic columns, a pediment, egg-and- dart moldings, with high relief panels on its wings. The main façade is closely styled after the north porch of the Erectheion on the Acropolis in Athens, Greece.
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Also known as the Driftless Area, this region of scenic, high relief landscapes includes such features as resistant, bluff-forming bedrock outcrops, deep V-shaped valleys, caves, springs, and sinkholes. Glacial deposits and loess are thin or absent over most of the region.
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Also noteworthy are the Stations of the Cross by the Andrew Kaletta Studio of St Louis. Rather than simply being painted, they are cast in high relief on a gold background which causes the figures and their detailed features to stand out prominently.
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Taq-e Bostan high-relief of the investiture of Khosrow II (r. 590 to 628). The king (center) receives the ring of kingship from Mithra (right). On the left, apparently sanctifying the investiture, stands a female figure generally assumed to be Anahita.
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Martin and Grube 2000, p. 65. In 2004, archaeologists announced that they had uncovered a hieroglyphic panel at Cancuen that depicts Tajal Chan Ahk, the 8th-century king of that city. The high relief sculpture shows him installing subordinate rulers at Machaquila.Markey 2004.
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The four goats stand facing four directions, looking serene and calm. Four high relief entwining dragons on the shoulders of the square zun. A pair of horns and heads of the dragons respectively extends out of the surface of the square zun.
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He died there on 14 March 1868. His body was returned to Edinburgh for burial and he is buried in the south-east section of Grange Cemetery in southern Edinburgh. The pale sandstone monument, bearing his head in high relief, was sculpted by John Hutchison.
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Laura Macaluso, in her book, "Art of the Amistad and the Portrait of Cinque" claims that this fourth side could represent slaves drowning along the Middle Passage. Its artist, Ed Hamilton comments on the meaning of the top side on his website: For the memorial, Hamilton employed a technique known as relief in which the foreground image juts out from the background. Each side demonstrates both high relief (where the projection from the background is much greater than low relief) and low relief to display secondary objects, including the faces of other captives and abolitionists. The three portraits of Cinqué are sculpted in high relief.
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At that time, the Mint was intensely busy generating designs for new coinage for Cuba and the Philippines, and Barber was reluctant to waste time on what he considered an experimental piece which would never be coined for circulation. Experimental dies were made from the plaster model. Approximately 24 pieces were struck as patterns; even though the Mint used a medal press, set for maximum pressure, it still took up to nine strokes of the press to fully bring out the design. These patterns are today known as the "Ultra High Relief" or "Extra High Relief" pieces, and only about 20 are known—one sold in a 2005 auction for $2,990,000.
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The only possible remedy, namely the contouring of the letters by way of a prepared pad underneath, whose bas-relief forms correlate perfectly with those of the high-relief stamp, was not technically feasible then, either. This proves Montserrat's high-relief hypothesis to be untenable. If the text had been carved directly into the foil as with other amulets, the stylus could have left only simple lines. According to Brekle, the applied printing technique has much in common with the later method of drypoint etching, by which an image is incised into a copper plate; however, unlike drypoint, MS 5236 is a colourless blind print.
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The Gulf of Papua shelf can be divided into four geomorphic zones: a low-relief, inner-shelf, deltaic zone; a high- relief, mid- to outer-shelf incised valley zone; a high-relief, southern reef zone; and a moderate to low-relief mid- to outer shelf zone in the east and northeast. The deltaic zone is an extensive flat, shallow surface in 5–30 m water depth. It is bordered by a relatively steep prodelta region in 20–50 m of water, that extends along the coast between the tide-dominated Fly and wave-dominated Purari River mouths.Harris, P.T., Baker, E.K., Cole, A.R., Short, S.A., 1993.
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Võitlus idatuulega, leather in high relief, 55.0cm x 60.0cm. Collection of Kembi Talu. Resilience in the face of adversity is a unifying theme in Ruberg's artwork. The objects of nature, such as trees and rocks, which must endure the harsh forces of weather are personified by Ruberg.
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Small juveniles probably reside inshore in very rocky, high relief areas, and by age 3 begin to migrate to deeper offshore waters of the continental shelf (Carlson and Straty 1981). As they grow, they continue to migrate deeper, eventually reaching the continental slope, where they attain adulthood.
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The semicircular entablature rests on the capitals, made up of the architrave, frieze, and cornices. On its east side is a semi-dome decorated with high relief ornaments. In the centre is a shield with the initials "I.H.S.", a monogram of the name of Jesus Christ.
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Taq-e Bostan high-relief of the investiture of Khosrow II (r. 590 to 628). The king (center) receives the ring of kingship from Mithra (right). On the left, apparently sanctifying the investiture, stands a female figure generally assumed to be Anahita (but see remark, below).
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It also featured high relief carving, strong curves, and elaborate woodturning. Despite these elements, the style was fairly squat, heavy-looking, and obviously sturdy. Straight lines are common. Paint, stains, or different kind of wood were used to create contrasting colors, which was another element of this style.
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An eagle statue adorns the top of each column. Classic elements are carved into the limestone base, consistent with Art Deco style. Seven bas-relief eagles are carved on the top of the second floor, below a zig-zagging parapet. Windows are arched and feature high relief fasces.
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These coins which minted from 1324 to 1330 have two sizes: "half" and "one" Pahlavi. The legends and images of these coins on two sides are not very fine and detailed which sometimes they are confused with fake coins. High relief half Pahlavi of 1951 (۱۳۳۰) is scarce.
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Geological map of Lofoten and Vesterålen. Lofoten is a horst ridge of bedrock. The rocks of Lofoten belong to the wider Western Gneiss Region of Norway. Some of the high relief and irregular surfaces of Lofoten has been attributed to etching that took place during the Mesozoic Era.
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A recess, in which sits a large rendered statue, is located in the upper section of the facade. The statue and recess are surrounded by rendered high relief moulding. Below the statue are the words "NAZARETH HOUSE". The parapet is surmounted by a rendered Celtic cross and rendered pedestal.
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Each plaque is carved in high relief, with figures, objects and animals in the scene appearing to come out of the ivory panel. Some of the different figures have glass eyes still intact in colors like blue, black or red.Museo Diocesano The Salerno Ivories: Objects, Histories, Contexts. Berlin: Gebr.
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In this talk he suggested some details of action of a drastic > character for my guidance, which he was positive were necessary to be > adopted before success could be had. All this was delivered in his usual > vigorous way, emphasizing many points by hammering on the desk with his > fist. The "high relief" version of the 1907 Saint-Gaudens double eagle On November 18, the impatient Roosevelt directed that the second set of dies be used to strike coins, directly ordering the Mint to "begin the new issue, even if it takes you all day to strike one piece!" Over 12,000 of these "High Relief" pieces were struck and were released into circulation in 1907 and 1908.
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The President's friend, Dr. William Sturgis Bigelow, had been in Japan for most of 1907; on his return to his Boston home he heard about the Saint-Gaudens coinage from Senator Henry Cabot Lodge. Bigelow was one of a number of Roosevelt's friends given early specimens of the double eagle. He wrote to the President on January 8, 1908, praising the Saint-Gaudens coins and stating that he was working with a Boston sculptor, Bela Pratt, on an idea that would allow coins to be struck in high relief. Pieces struck in this manner would have the designs protected from wear and be able to stack easily (both problems with high relief coins).
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One technique that Donatello implemented in his Feast of Herod is the use of rilievo schiacciato, or shallow relief, which he had earlier used in his St. George predella, for the Church of Orsanmichele in Florence. Donatello utilized schiacciato carving to create atmospheric effect and to give the impression of greater depth. In order to create this depth, Donatello relied on the contrast between the low and high relief. The inclusion of low relief, in the architecture of the layered arches and in the background figures, allows for specific elements to appear farther away, while the high relief brings attention to the more highly detailed figures in the foreground, which seem to extend out into the viewer's space.
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Among portraits of Salaman are a three-quarter length (oils) by his sister, Julia Goodman, 1834; a sketch, seated at piano (oils), by Sydney Starr, 1890; a marble medallion in high relief, by , Rome, 1847; and a lithograph, by Richard James Lane, after a drawing by Solomon Hart, published in 1834.
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He was rebuffed by the Patriarch of Constantinople.Janet Martin, Medieval Russia: 980-1584 (Cambridge: Cambridge UP, 1995), 100. Scores of Russian, German, and Georgian masons worked on Vladimir's white stone cathedrals, monastery, towers, and palaces. Unlike any other northern buildings, their exterior was elaborately carved with high relief stone sculptures.
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Sir Cowasji Jehangir Readymoney, CSI (1812-1878). High relief sculpture of Cowasji Jehangir by Thomas Woolner, Old College, University of Edinburgh Sir Cowasji Jehangir Readymoney, CSI (24 May 1812 – 19 July 1878) was a Parsi community leader, philanthropist and industrialist of Bombay, India.Sir Cowasjee Jehangir K.C.S.I. of Bombay. British Library.
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It features elaborately carved stonework and an elaborate roof scape with tower and domes. Internal doors have high relief carvings in cedar and walls and ceilings elaborate plaster and painted decoration. It has specially designed light fittings and massive pipe organ. It contains a collection of rare and valuable art works.
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A marble high-relief exhibited in 1886 in Milan, depicted: Selvaggina (Hunted Game); at the 1884 Exhibition of Fine Arts of Turin. At the 1887 National Artistic Exposition of Venice he also exhibited a sculpture of game. He also made portrait busts. Dizionario degli Artisti Italiani Viventi: pittori, scultori, e Architetti.
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The whole complex is surrounded by a triumphal arch. Amadeo himself executed the funerary monument of Medea Colleoni (died March 6, 1470). Located on the left wall, it has a statue of the Deposition from the Cross in high relief. The tomb was transferred here in 1892 from Basella di Urgnano.
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The base is a smooth faced step with a chamfered top edge. Surmounting this is the pedestal plinth which is smooth faced and capped with large cyma recta mouldings. The front face displays a high relief carving of a trooper's hat and bandolier. Rising from the plinth is the pedestal dado.
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Heat flow and elevation of the marginal basins of the western Pacific: J. Geophys. Res., v. 77, p. 5705–5719. It is roughly bisected by the Central Basin Fault zone which comprises a band of high relief running from the northwest corner to the Kyushu-Palau Ridge near 14°N.
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This technique lends stability to the fragile argillite. The drawback to this method is that it sometimes causes flaking, making carving in high relief an advanced carving technique. For a long, shallow piece, it is often better to work with the grain. Different objects require varying levels of skill in their execution.
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Instead of using the established techniques of casting medals in sand or using the lost-wax process, he perfected a method for stamping medals in high relief. This led to the ability to get more detail and create larger production runs. Some of his works reside at the Cleveland Museum of Art.
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The first medieval gisants emerged in the 12th century. They were executed in low relief, and were horizontal, but appeared as in life. The faces were generalized rather than portraits. Gradually these became full high-relief effigies, usually recumbent, as in death, and, by the 14th century, with hands together in prayer.
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Deployed on all four sides at the top of the rectangular marble pillar, is a relief frieze depicting the Battle of Pydna. The frieze runs 6.5 meters long and 0.31 meters high. The figures are carved in high relief out of white veined marble with a brown patina.Strong, D., & Toynbee, J. (1976).
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The full range includes high relief (alto-rilievo, haut-relief),In modern English, just "high relief"; alto-rilievo was used in the 18th century and a little beyond, while haut-relief has surprisingly found a niche, restricted to archaeological writing, in recent decades after it was used in under-translated French texts about prehistoric cave art, and copied even by English writers. Its use is to be deprecated. where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low relief (basso-rilievo, or French: bas-relief (), and shallow-relief or rilievo schiacciato,Murray, Peter & Linda, Penguin Dictionary of Art & Artists, London, 1989. p. 348, Relief; bas-relief remained common in English until the mid 20th century.
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The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture. Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth.
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The flag flagpole has a marble base dating back to the sixteenth century with decorations in high relief. The marble panels on all four sides represent the cardinal virtues. It has stood here from the second half of the eighteenth century. To the east is the ancient church of San Clemente flanked by medieval houses.
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The monument itself stands above the foundation, and the statue is tall. Carved panels in high relief are principal features of the pedestal. Three each depict a scene from a Burns poem,The Cotter's Saturday Night, To a Mountain Daisy, and Tam o' Shanter's Ride. The fourth panel depicts Burns' cottage in Ayr, Scotland.
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The Dancers of Delphi The Dancers of Delphi, also known as the Acanthus Column, are three figures in high relief on top of an acanthus column found near the sanctuary of Pythian Apollo at Delphi. They are on display in the Delphi Archaeological Museum and were the inspiration for the first of Claude Debussy's Préludes.
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The coinage dates of these coins are 1945 (۱۳۲۴) to 1979 (۱۳۵۸) and are seen in "quarter" to "ten Pahlavi" sizes. Designation of them is the same as the end of Pahlavi rule except in commemorative coins. Half Pahlavi and One Pahlavi gold coins are in two types: "high relief" and "ordinary" Pahlavi coins.
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Norwich, 158. This meeting of Italian Mannerism and French patronage bred an original style, later known as the first School of Fontainebleau.Thornton, 51. Featuring frescoes and high-relief stucco in the shape of parchment or curled leather strapwork, it became the dominant decorative fashion in France in the second half of the sixteenth century.
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The station, designed by Victor Prus, is a normal side platform station, built in tunnel. It has a single mezzanine at transept level, giving access to one entrance. The station's artwork consists of 32 narrow vertical aluminum seams at platform level, with extruded square and rectangular forms in high relief. These were created by noted Quebec artist Charles Daudelin.
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It has also been found in Baja California, Mexico. Alforsite is a constituent of the apatite group of minerals. It crystallizes in the hexagonal crystal system with a point group of 6/m and space group P63/m. It occurs as colorless grains that are hard to distinguish from fluoroapatite, as they both display low birefringence and high relief.
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The stamp portrayed Jefferson Davis, Robert E. Lee and Thomas J. "Stonewall" Jackson on horseback. It depicts a replica of the actual memorial, carved into the side of Stone Mountain at above ground level, the largest high-relief sculpture in the world. Jefferson Davis in National Statuary Hall The Jefferson Davis Presidential Library was established at Beauvoir in 1998.
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It is one of the rare examples of Late Gothic Art which can still be seen in Florence. The room also boasts a collection of sculptures from the 11th–15th centuries, including two low reliefs by Donatello, a high relief by Jacopo della Quercia (Madonna with Child) and two marble sculptures by Tino da Camaino (1320–1322).
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Pp. 185, 187–189. The carved high relief icon has similarities to a set of 13th-century icons of St. George from the Crimea, Ohrid, and Castoria. An original Greek inscription recently discovered under the coat of wax paints has a parallel in a lead seal from a Trapezunt monastery, also datable to the 13th century.Nikolai Likhachev.
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The tympanum of the portal is surmounted by a large rose window surrounded by terracotta decoration from the 7th and 8th centuries. A round high relief from the fourteenth century, depicts St Clement. In two niches are the statues of St. John the Baptist, and Sant'Alò, dated 1696. A neo-baroque belfry rises, next to the church.
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Apart from the effigy on the sarcophagus, all the other sculpted figures are in high relief. Although the style of the work is thoroughly classicising, the overall form reflects the grandest type of the medieval Italian wall tomb, in which the vertical piling-up of a series of different elements is characteristic.Levey, 1996, pp. 151–153.
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Zebra Fish is an outdoor 1989 sculpture by Wayne Chabre, installed at the University of Oregon campus in Eugene, Oregon, in the United States. The hammered copper sheet high-relief measures approximately x x . It was surveyed and deemed "treatment needed" by the Smithsonian Institution's "Save Outdoor Sculpture!" in March 1993. It is administered by the University of Oregon.
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The ring foot also carries a design of one-legged dragons. This vessel combines the techniques of engraving, high relief and three-dimensional relief in a dignified and refined form with intricately worked designs. It is a perfect fusion of moulding and artistic design representing the very best of bronze-making by the traditional clay mould technique.
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Simpsonite has a general formula of Al4(Ta,Nb)3O13(OH). It occurs as euhedral to subhedral tabular to short and prismatic crystals, commonly in subparallel groups. Under the petrographic microscope it has a very high relief. Discovered in 1938, it was named after Edward Sydney Simpson (1875–1939), government mineralogist and analyst of Western Australia.
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A mounted horseman occupies the top of the stone, with two interlaced serpents behind. Under the horse's hooves is another entwined serpent, a Pictish Beast and another animal, with another horseman behind. A crescent with V rod symbol occupies the lowest portion of the stone. Meigle 5 has a cross carved in high relief on one side.
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The two statues on both sides of calle 25 access, high relief at the attic, sign materials mixture and windows ornamentation were abolished. Four story building. In the first floor general reading rooms, kardex, exhibitions, music, classification, among other. In the second floor hemerotheca and researchers, in the third and fourth floors book storage and administrative offices.
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View of the garden The trapezoidal shape of the Petit Palace forms an open area at the center of the building. This enclosed area creates a semicircular, peristyled courtyard. The architecture of the courtyard incorporated many different architectural elements. The elegant courtyard is considered Beaux Arts style because of the “symmetrical composition” and “rich decoration in high relief”.
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The surface of the Flatside Wilderness consists of two geologic formations: the Pennsylvanian Jackfork Sandstone and Mississippian Stanley Shale. Because the Jackfork Sandstone is composed almost entirely of quartz and has undergone low-grade regional metamorphism, it has weathered at a lesser rate than the Stanley Shale, hence the high-relief sandstone ridges like White Oak Mountain.
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The silversmiths who worked in the atelier of P Orr and Sons were initially British, but soon Indian craftsmen were working side by side with them. Swami silver combined English form with Hindu motifs and is characterized by extraordinary attention to detail. The deities are depicted in exceptionally crisp high relief achieved by some brilliant repoussé.
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High relief, strong heat in the summer and high evaporation are the essential reasons of hail in Shaki. The elevation of 500–850 m above sea level, the mountain woodlands encompassing it prevents the city from overheating. The city is secured from floods by mountain woodlands. It makes the view of the city even more beautiful.
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The inscription is in gothic script, and the memorial has a high relief carved figure of a woman and child. The church holds a fairly well-preserved effigy of a military figure almost long from about 1250. It is held under a low arch in the north wall of the north aisle, behind the organ. The figure is recumbent, with crossed legs.
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Adventure Rupes is separated from Resolution Rupes by a high relief ridge informally named Rabelais Dorsum, which crosscuts the scarps. This means that Resolution Rupes and Adventure Rupes may be parts of one large structure similar in length to Discovery Rupes. The scarp is named after HMS Adventure, one of James Cook's ships on his second voyage to the Pacific, 1772–1775.
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While in Vilnius the following year, Antokolski created another high relief - "A Stingy Man," which is sometimes referred to as "A Stingy Jew Counting his Coins". The artist was born into a poor family and saw how his father's financial situation improved. The sculpture might have reflected Antokolski's feelings towards his native town of Vilnius, and firstly to his father.
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Highly embellished Gothic style necklaces from England reflected the crenelations, vertical lines and high relief of the cathedrals. Empress Eugénie popularised bare décolletage with multiple necklaces on the throat, shoulders, and bosom. There was also an interest in antiquity; mosaic jewellery and Roman and Greek necklaces were reproduced. Machine-made jewellery and electroplating allowed for an influx of inexpensive imitation necklaces.
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The 2017 coin was a result of the exploration of concepts for a new and modern Liberty and was directly inspired by the controversial 2015 African American Liberty designed by another AIP artist. The 2015 design had been recommended by the Commission of Fine Arts for the 2015 American Liberty high relief gold union, but was ultimately not chosen to be minted.
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The major tributaries flowing north from the Waring Mountains are the Pah River, Pick River, and Niaktuvik Creek. The Pah River drains a lowland area of the basin. Most major tributaries draining high relief areas have higher unit runoff than tributaries draining the lower relief areas. Walker Lake is at an altitude of in the headwaters of the Kobuk River.
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The leading hemisphere is heavily cratered and uniformly bright. As on Callisto, the craters lack the high relief features seen on the Moon and Mercury. It has been theorized that these cratered plains are up to four billion years old on average. On the trailing hemisphere there is a network of bright swaths on a dark background and few visible craters.
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Proclamation of the abolition of the monarchy, high-relief bronze by Léopold Morice, Monument of the Republic, Place de la République, Paris, 1883 During the French Revolution, the proclamation of the abolition of the monarchy (French: Proclamation de l'abolition de la royauté) was a proclamation by the National Convention of France announcing that it had abolished the French monarchy on 21 September 1792.
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The statue of A'a is a wooden anthropomorphic figure, 117 cm high and 36 cm wide. It is, in the estimation of Alfred Gell, "arguably the finest extant piece of Polynesian sculpture". The figure is hollow, and has a removable back panel allowing access to the interior. The sculpture's arms are carved in high relief; its legs are separated and slightly bent.
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It is one of the existing lingams from the pre-Buddhist period. The almost naturalistic giant lingam is distinguished by its prominent, bulbous "glans", and an anthropomorphic form of Parashurama carved in high relief on the shaft.Rao, T. A. Gopinatha, Elements Of Hindu Iconography, Vol II Part 1, 1916, Law Printing House, Madras (Chennai), Internet Archive (fully online), p. 65 on; thenewsminute.
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Robert imitated the high-relief decorative style of la Veuve Perrin. He also produced plates with finely painted landscapes in their center, and after 1773 also made porcelain. He used a less formal style derived from the Rouen manufactory, the style rayonnant. The Robert pottery products typically use monochrome sepia, green, pink or blue decorations, or multicolored landscapes, animals, fish or flowers.
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On July 19, 2018, the Commission of Fine Arts gave its approval to a modified memorial design. The changes replaced the existing fountain with a stand-alone wall featuring high-relief sculptures facing east. A cascade down the western side of the wall fed a scrim (which replaced the existing pool). Design approval by the NCPC and other agencies was still pending.
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The building was almost square, with nine bays to the front and six on the sides. It had two storeys, in a form typical of the fashionable "country cottages", such at those at the Petit Trianon. Each facade was surmounted by a simply triangular pediment, decorated in high relief. Busts were placed between the bays on the first floor, mostly of Roman emperors.
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Pope-Hennessy, pp. 15–19 and 183–186. The Cossa monument is often compared to the monument to Doge Tommaso Mocenigo of Venice, of 1423, which has high relief saints in shell niches on and above the sarcophagus, above which a large pair of curtains sweep up to a single terminal; however the architectural detailing here is Gothic.Pope-Hennessy, p.
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David Esterly (1944-2019) with his piece Quodlibet #7, 2012. Limewood on painted backboard, from the collection of Martha J. Fleischman James David Esterly Jr. (May 10, 1944 – June 15, 2019) was an American limewood carver, self-described sculptor and writer. He was known as an exponent of the high- relief naturalistic style of the British carver Grinling Gibbons (1648–1721).
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If available, oyster shell beds are preferred. The second stage is when these fish outgrow low-relief habitats and move to intermediate-relief habitats as age 1 snapper leave to move on to another growth stage. Next, at about age 2, snapper seek high-relief reefs having low densities of larger snapper. Next, at platforms, smaller snapper occupy the upper water column.
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The post office building was rebuilt after the war to the design of the architect Pierre Chirol and Delamarre was commissioned to create a 13-metre-high relief. The relief was entitled "Iris la Messagère". In Greek mythology, Iris is the personification of the rainbow and messenger of the gods. In Delamarre's composition, Iris is shown with three carrier pigeons.
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The Idamalayar Dam is located on the Idamalayar River, a tributary of the Periyar River in Kerala. Edamalayar originates in the Anamala Hills at elevation of . The river is a perennial source draining a catchment area of with a topography of high relief. The catchment receives annual rainfall of , 90% of which occurs during the monsoon months of June to September.
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The mixture of the techniques of engraving, high relief and three-dimensional relief on the shoulder and belly combined with the delicate and beautiful designs make this a masterpiece of Shang bronze work. In ancient times, non-Chinese peoples lived in Huaiyi Region, where this piece was excavated, and it shows the influence of Shang bronzes combined with local features.
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Since 1946, it has been part of the then newly founded state of Rhineland-Palatinate. In the outlying centre of Kindel, the remnants of a Celtic-Roman estate from the 3rd century were unearthed. This also entailed the discovery of a high relief of the hammer god Sucellus. This archaeological find is said to be the oldest evidence of winegrowing on the Moselle.
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It is customary for practicing Buddhists to listen to the monks narrating the Jataka stories on full-moon days. They are very popular in India, Sri Lanka, Burma, Nepal and Cambodia and other Buddhist countries. 40 Selected Jataka stories have been carved in high relief onto warm sandstone by artmorf sculptors. The relief sculptures narrate stories of the previous births of the Buddha.
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Mobile telephone service is available across the country through various operators. ADSL connections are available in some areas. Benin is connected to the Internet by way of satellite connections (since 1998) and a single submarine cable SAT-3/WASC (since 2001), keeping the price of data extremely high. Relief is expected with the initiation of the Africa Coast to Europe cable in 2011.
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In the lower panels there are figures . high in Gothic niches, and in the upper panels a double range of niches with figures about . high with canopies over them, all carved in cedar. The south door of Beauvais Cathedral is in some respects the finest in France; the upper panels are carved in high relief with figure subjects and canopies over them.
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The chapel in the right transept, dedicated to St. Aloysius Gonzaga, has a large marble high- relief depicting St. Aloysius Gonzaga in GlorySt. Aloyzius Gonzaga in Glory (1697–99) by the French sculptor Pierre Le Gros. Andrea Pozzo painted the ceiling which also shows the Glory of the Saint. Buried in the side altar next to Gonzaga is Cardinal St. Robert Bellarmine.
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S. Astvatsatsin is a domed-hall type church with a single drum and a conical umbrella type dome resting above. Two portals lead into the structure from the south and west. An effigy of the Virgin Mary is carved upon the tympanum in high-relief above the lintel of Decorative tympanum above western entry depicting the Virgin Mary and Christ. the west portal.
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The Richat Structure is a deeply eroded, slightly elliptical dome with a diameter of . The sedimentary rock exposed in this dome ranges in age from Late Proterozoic within the center of the dome to Ordovician sandstone around its edges. The sedimentary rocks composing this structure dip outward at 10–20°. Differential erosion of resistant layers of quartzite has created high-relief circular cuestas.
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Its crystals are elongated and striated along [001] to a size of 1.5 mm. Madocite is anisotropic and classified as having high relief. It also displays strong pleochroism. Madocite is found in small clusters in marble pits (near Madoc, Ontario), and was originally categorized in the 1920s as an unidentified sulfosalt mineral in an assemblage of pyrite, sphalerite, and jamesonite in marble.
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Sculpted figures in high relief set against recessed panels alternate with pedimented windows. Another is the Hôtel de Bretonvilliers (1637–43). He added the divided horseshoe staircase to the main entrance of Fontainebleau (1632-34). The daughter of Jacques I Androuet du Cerceau married the architect Jean de Brosse (architect), father of Salomon de Brosse, architect of the Palais du Luxembourg, Paris.
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Strain is focused into weakness forcing warm material into the zone thereby lifting isotherms locally Figure 2: An advanced tectonic aneurysm. Isothermal gradient becomes more advanced than in the young stage. Material flow causes surface uplift of young rock on the peripheral edges of the erosion area. The uplift brings weak warm rocks to the surface and creates high relief.
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Edinburgh and Leith Post Office Directory 1900-01 His daughter Dorothy Johnstone was an artist who married David Macbeth Sutherland in 1924. He died in Edinburgh and was buried in Morningside Cemetery, Edinburgh with his wife Jessie Hunter Heron. The distinctive grave holds a high relief sculpture of his head and lies in the south-west section of the cemetery.
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Solimana has a high relief reaching approximately , the consequence of glacial erosion. Neighbouring canyons have begun to incise the edifice. The Cotahuasi Canyon runs north of Solimana, and the southern flank is drained by numerous quebradas. During the last glacial maximum a number of glaciers developed on Solimana, the longest of which occupied the Quebrada Caño on the northern flank and reached length.
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The roofing tiles were dark blue- grey, shaped like the English pan-tile. The ridge and hip closers were decorated with the Buddhist chyrsanthemum symbol in high relief. The house at New Farm covered about 30 squares, including a wide verandah all round. It had four main rooms (which could be subdivided to make eight) and three tokonomas and chigai-tanas.
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Though built in the middle of the 19th century, the Königsberg gates were neogothic in style. The Brandenburg Gate expresses the Gothic motifs particularly vividly. The pediments in the form of arrows give this gate, which is in fact rather low, a sense of height. The gate is richly decorated with decorative elements, such as the high relief stone and stylized flowers.
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It is now included in the inventory of the Monuments historiques, notably because of its stage curtain, an original painting by the famous poster designer Jules Chéret depicting characters from the Commedia dell'Arte as well as a high relief called Les Nuées by Antoine Bourdelle on its pediment. It features 210 seats, hosts theatrical performances, recitals, press conferences, conventions and screenings.
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Roosevelt suggested that the new designs could be in high relief, with a high rim to protect them. Saint- Gaudens replied agreeing with Roosevelt, and proposing a design for the double eagle > some kind of a (possibly winged) figure of Liberty, striding forward as if > on a mountaintop, holding aloft on one arm a shield bearing the stars and > stripes with the word Liberty marked across the field; in the other hand > perhaps a flaming torch, the drapery [of Liberty's dress] would be flowing > in the breeze. My idea is to make it a living thing, and typical of > progress. Early model for the reverse of the double eagle, displaying the date in Roman numerals On January 2, 1906, Saint-Gaudens wrote to Shaw, enquiring whether a high relief was practical on coins struck at the Mint.
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Kamarupa- period stone sculptures in high relief embedded in the walls of the Natamandira"(The Nrityamandira's) outer surfaces are decorated with figures in high relief as in a gallery. They include a wide range of subjects ranging from gods and goddesses to Ganas, Betalas and other demigods. The walls have niches with cusped arches to hold these pieces in rows separated by pilasters at regular intervals." constructed by Rajeswar Singha"One of (Rajeshwar Singha's) notable achievements is the successful erection of the natamandapa of the Kamakhya temple..." during the Ahom-period. Rudra Singha (1696–1714) invited Krishnaram Bhattacharyya, a famous mahant of the Shakta sect who lived in Malipota, near Santipur in Nadia district, promising him the care of the Kamakhya temple to him; but it was his successor and son Siba Singha (1714–1744), on becoming the king, who fulfilled the promise.
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Style IV and Style V of Anyang phase are seen from the two pairs of jia vessels in Fu Hao's tomb. In Style IV, images are popped out with real vividness. In Style V, images are raised up in high relief from the more flat thunder patterns in the background. Moreover, these jia vessels are squared- sectioned, one of the distinguishing features of Anyang Period.
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Nancy Calef is a contemporary American figurative painter, illustrator and author. Her work is distinguished by the technique of sculpting off the canvas with clay to produce paintings in three-dimensional high relief. Calef is also a singer/songwriter.Guthmann, Edward, "Nancy Calef Writes of Recovering from Mom's Madness", May 20, 2014, San Francisco Chronicle"Conference Speakers 2012," Women's Power Strategy Conference web site, retrieved October 24, 2015.
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The drapes were hung in straight panels from the carved and gilded 1902 wooden cornices. The design of the valances was not finalized until April 1964. First Lady Lady Bird Johnson asked Jacqueline Kennedy to assist her in finalizing the design. Originally, they were to be of brocatelle, a jacquard weave fabric similar to brocade but thicker and heavier and with designs in high relief.
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The bowl has two handles, each measuring 3.4 cm in length. The bowl itself weighs 2.388 kg, having 25 cm in diameter and 7.1 cm in depth. The krater was lost during 1945, and now shown in plaster copy. Other notable items are paterae with the high relief of infant Hercules strangling the serpents and with the low relief heads of Attis and Cybele.
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The three-bay north arcade is in Norman style, carried on round pillars. In the north wall of the chancel is a recess containing a 13th-century stone coffin with a lid. The lid is carved in high relief with the effigy of a deacon with a tonsure. He is dressed in vestments, including a cassock, an alb, a dalmatic, a maniple, and a stole.
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The contract survives, and shows that it was made in 1470 by John Stowell. It was destroyed during the Reformation or Interregnum, but the outline of the figure of Jesse is still visible, and many fragments of sculpture also survive. Christchurch Priory, Dorset. Christchurch Priory contains a boldly carved reredos in high-relief of the 1350s in the form of the Tree of Jesse.
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The goddess Ambika is carved from white marble in high relief and wears a tiered headdress with her hair tied to one side. Two arms of the goddess are missing; in the remaining arms, she clasps an elephant goad (aṅkuśa) and either a noose or the stalk of a plant. On the base are shown various other deities and a kneeling female donor with an inscription below.
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Peñalara cirque, one of the most important glacial formations in the reserve. The high relief of the reserve is due to the collision between the tectonic plates corresponding to the North and South Subplateaus. Both form part of the Central Plateau. In the Middle Paleozoic (360 to 290 mya (unit)), an initial substrate of ancient granites and sediments began to fold and metamorphose, creating the gneisses.
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Leaded panes of glass of various shades of amber are surrounded by a Renaissance-style border. Below the windows are bronze doors, each with 24 high-relief panels depicting the history of commerce and civilization. Bas-relief figures decorate each of the arches' spandrels. A male figure with a hammer representing industry and a female figure with a beehive representing thrift decorate the center arch.
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At the onset of the CPE a sharp change in carbonate platform geometries is recorded in western Tethys. High relief, mainly isolated, small carbonate platforms surrounded by steep slopes, typical of the early Carnian, were replaced by low-relief carbonate platforms featuring low- angle slopes (i.e., ramps). This turnover is related to a major change in the biological community responsible for calcium carbonate precipitation (i.e.
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It is a high relief in lime wood with partly preserved original polychromy. It measures 73 x 98 x 22cm. It was restored by Jiří Blažej (1953-1954) and Ludmila Slánská (Prague, 1965). Against the relief’s background, comprising an indicated wall made up of cube-shaped stones, there are five almost separate figures centred around the focus of the composition – the figure of the Infant Jesus.
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The Velletri Sarcophagus was made from marble (even though the marble sarcophagi would not become popular until the 3rd century) and decorated in a high relief. It is long, high, and wide. Most of the sarcophagus has kept its fine detail, however there has been some erosion in figures, leaving them to be more mysterious, and the right side panel of the roof is gone.
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On the south side of the front of the chest is the figure of a recumbent lion, carved in high relief. The lion is facing left, its body contained within the end of the block. The small head of a bull, who has been pinned by the lion, rests between its paws. Below the bull was a tablet, the inscription on which has faded.
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Drosophila Fly Head is an outdoor 1988 sculpture by Wayne Chabre, installed on the University of Oregon campus in Eugene, Oregon, in the United States. The hammered copper sheet high-relief of a fly head measures approximately x x . It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993, though its condition was undetermined. The sculpture is administered by the University of Oregon.
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Marie Curie Gargoyle is an outdoor 1989 sculpture by Wayne Chabre, installed on the University of Oregon campus in Eugene, Oregon, in the United States. The hammered copper sheet high-relief of Marie Curie measures approximately x x . It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993, though its condition was undetermined. The sculpture is administered by the University of Oregon.
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The composition is very crowded, with overlapping figures in a scheme unknown in 2nd century classicism. The use of drilling and the abundant chiaroscuro of high relief are typical of the expressionism of the turn of the 2nd/3rd centuries, though the solid plasticity and consistency of the figures indicate a continuing classicism. This compositional pattern is repeated with little variation on later hunting sarcophagi.
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The labels are coated in embossed gold foil in high relief, with a trio of angels flying in clouds beside "LEEDS TALK-O- PHONE RECORDS" in elaborate flowing lettering. The lower portion of the label shows the record number, song title, and artist, in much more plain type. The whole is surrounded by a floral border. In the early 20th century, the quality of Leeds records improved.
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The flat (vs. high relief) type of this coin was first introduced to the market in 1951. This coin also has a variety of ordinary and Aryamehr, the first type is from 1951 (۱۳۳۰) to 1974 (۱۳۵۳) and the second type has been minted from 1975 (۱۳۵۴) to 1979 (۱۳۵۸). In the years 1977 and 1978, the date of coins are ۲۵۳۶ and ۲۵۳۷, respectively.
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Because of the high relief of the coin die, a test striking was made to see if coins would release from the Confederate die. The die was made by a printing plate engraver (A.H.M. Peterson) in New Orleans who was unfamiliar with techniques required to engrave coining dies. These coins were struck using a U.S. obverse die (Seated Liberty) and the Confederate die made by Peterson.
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High relief areas moderate slopes best describe its extreme eastern and northwestern quadrant. Slopes of 3%-8% are extensively found in the city, particularly on the western half. Slopes of 30%-50% comprise the smallest portion of the total land area. The rivers and creeks that flow in San Jose del Monte are direct tributaries of Angat River, which flows from the Angat Reservoir.
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St. Hedwig's Cathedral in Berlin contains examples of his work. Geiger produced the high-relief Adoration of the Magi (1894). His The Communion of the Saints on the ceiling of St. Hedwig's is his most noteworthy painting. He sculpted Frederick Barbarossa for the Kyffhäuser Monument; a statue of Labor for the Reichsbank building in Berlin; and Centaur with Dancing Nymph for the National Gallery.
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In 1824 Charles Colville and his party visited Chandravati and found twenty marble edifices of different sizes. One temple to Brahma was adorned with rich and finely executed sculptured figures and ornaments in high relief. Another scholar, Ferguson, found the pillars so highly ornamented in details and varieties that no two pillars are exactly alike. At present not a single temple is in order.
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Drawing by Désiré Charnay (1885)The lintel is done in high relief style with the background deeply recessed. All three were apparently commissioned by Lady Xoc for the doorways of Structure 23. The lintels show the elaborate costumes of the king and queen with remarkable detail and with an uncharacteristic lack of abstraction. These lintels are considered by some to be the pinnacle of Mayan Art.
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The Atlas Libertas is a bas relief placed on the main façade of the UFM Business School. A high- relief sculpture of a human figure supporting the universe seen from the back from head to hip. The universe is represented by a series of semicircles (abstract planets and gear mechanisms). The sculpture is made of brass plate with a cyan-colored finish, resembling oxidized copper.
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The white abalone is the deepest dwelling of eight species of California abalones, living at depths from . White abalone are found in open low and high relief rock or boulder habitat that is interspersed with sand channels. Sand channels may be important for the movement and concentration of drift macroalgae, and a variety of red algae, upon which white abalone are known to feed.
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With the rising price of gold by June it had climbed to $1339, and by December to $1489. There was no limit on the coinage of these one time uncirculated issues, which bear the date "MMIX"."Welcome to the 2009 Ultra High Relief Gold Coin Exhibit" The United States Mint In September, the one coin per person ordering restriction was removed. The final mintage was 115,178.
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San Francisco: Museum, 1977. p. 122-23. Types coming out of the Late Eastern Zhou are spherical in form and possess three animal masks in relief; the heads are situated symmetrically around the lid, mirroring the three Ding-like feet supporting the base. Simple linear patterning covers the vessel in clearly defined registers, while high-relief rope bands separate the basin from the lid.Loehr, Max.
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The church is predominantly Baroque in style. Its first level is devoid of any embellishment or fenestration save for the main semicircular arched portal and the wave-like cornices and rounded, high- relief pilasters. A similar motif has been adapted on the second level of the façade, which is pierced by three windows. The center of the softly undulating pediment showcases one blind window encased by pilasters.
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The south chapel is the Lady Chapel. Its screen of 1904 and reredos of 1904 were designed by G. F. Bodley. The ambulatory runs round the apse and is divided from the sanctuary by an arcade with statues of angel musicians in the spandrels. Above this is a frieze in high relief depicting the Adoration of the Lamb, and above this are statues of angels under canopies.
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Johannes Justus Rein visited the business in the mid-1870s. The Meiji Restoration had brought about a collapse of the old regulation and financing of kilns. Kōzan was at the forefront of the successor policy of industrial development, which included crafts, called shokusan kōgyō. He exhibited at the Centennial Exposition of 1876, in Philadelphia, a wide range of ceramic wares, including high relief vessels presaging later work.
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Possible representation of Enkidu as Master of Animals grasping a lion and snake, in an Assyrian palace relief, from Dur-Sharrukin, now Louvre In Assyrian sculpture, the famous colossal entrance way guardian figures of lamassu were often accompanied by a hero grasping a wriggling lion with one hand and typically a snake with the other, also colossal and in high relief; these are generally the only other types of high relief in Assyrian sculpture. They continue the Master of Animals tradition in Mesopotamian art, and may represent Enkidu, a central figure in the Ancient Mesopotamian Epic of Gilgamesh. In the palace of Sargon II at Khorsabad, a group of at least seven lamassu and two such heroes with lions surrounded the entrance to the "throne room", "a concentration of figures which produced an overwhelming impression of power."Frankfort, Henri, The Art and Architecture of the Ancient Orient, pp.
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The tympanum above the door, which may have once held an inscription, fresco, or other form of decoration, is now worn beyond recognition. Although, some of the original white plaster is still preserved around the lintel. Beyond the gavit is the main hall of the church; a large vaulted chamber that is relatively unadorned. Capitals of the six columns in high-relief are of interest since each contains a unique design.
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The obverse of the Gobrecht dollar was in high relief, but Mint officials felt that this should be lowered for the new coin, which was to be struck in much larger quantities. Patterson hired Robert Ball Hughes, a Philadelphia artist, to modify the design. As part of Hughes' modifications, Liberty's head was enlarged, the drapery was thickened, and the relief was lowered overall. Thirteen stars were also included on the obverse.
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These include sculpture, paintings, music and dancing, representing a fusion of Indian and European cultures. A high relief carving on display is made of black stone and has a geometric design. It belongs to the Chinpa culture (about 1500 BC), and was taken from the Traco Peninsula in Los Andes Province. Bronze Inca figures, mummies and a monolith, which belonged to the Tiwanaku and Inca cultures, are also on display.
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Because accretionary convergent margins have high relief, are continuously deforming, and accommodate a large flux of sediments, they are vigorous systems of sediment dispersal and accumulation. Sediment transport is controlled by submarine landslides, debris flows, turbidity currents, and contourites. Submarine canyons transport sediment from beaches and rivers down the upper slope. These canyons form by channelized turbidites and generally lose definition with depth because continuous faulting disrupts the submarine channels.
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Chizhov was graduated from the Academy in 1867 with the title of Expert Artist of the First Degree and a large gold medal earned for a high relief of Christ's resurrection, copies of which are now located at the Academy and in the Russian Museum. He then traveled in Europe, visiting several cities in Germany, Austria, and Italy before settling in Rome, where he spent six years in continuous work.
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The lower figures are nearly fully three- dimensional, while the upper figures are mostly carved in relief, with only the head and shoulders projecting out of the stone. Above these three plates, the remaining ten plates are arraigned in three rows. The bottom row is made up of four plates which rest on a high base. The plates are high relief carvings, each about deep and an average of about high.
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The excavations revealed 49 stone coffins, 30 coffin lids, and five headstones. Twelve of the lids were carved in high relief, with designs including flowers or foliage. One lid depicts an oak tree issuing from a human head in the style of a green man, another has a cross, a dragon and a female effigy, while others have shield and sword motifs. Two contain inscriptions in Norman-French, identifying the deceased.
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The Bharhut Yavana is a high relief of a warrior which was discovered among the reliefs of the railings around the Bharhut Stupa. It is dated to circa 100 BCE, with a range from 150 BCE to 80 BCE.Didactic Narration: Jataka Iconography in Dunhuang with a Catalogue of Jataka Representations in China, Alexander Peter Bell, LIT Verlag Münster, 2000 p.18 The relief is currently in the Indian Museum in Kolkata.
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The dome was decorated with cherubs in high relief (removed in 1841), and supported on pendentives with elaborate plaster decoration. There was one window in each of the four walls. The frontage to Bread Street, at the western end, was faced in Portland stone with a curved pediment, but the rest of the church, including the tower, was of brick. There was a wooden spire, covered in lead.
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The ancient myth of the Rape of Persephone is depicted in high relief on the sarcophagus. Persephone is carried away to the underworld by Pluto, the god of the underworld, with the help of Athena and Eros, on a quadriga led by the divine messenger Hermes. The hellhound Cerberus is found at Hermes' feet near the death god Tartarus. The giant Enceladus rises out of the Earth, to receive the chariot.
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There are well made counterfeit gold coins in circulation. For example, the St. Gaudens Double Eagle omega counterfeit is infamous for its complexity and has fooled many numismatics experts. It is a high relief business strike, and due to the extensive wear on the die, these coins were not made for many years. Another example is the US $20 gold coin ("double eagle"), which has raised lettering around its rim.
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" The writer Jeremy Parish of 1UP.com states that "Xenoblade throws into high relief the sheer artificiality of the gaming community's obsession over the differences between" Western and Japanese RPGs, pointing out that it "does things that don't really fit into either genre. Gamers do love their boundaries and barriers and neat little rules, I know, but just because you cram something into a little box doesn't mean it belongs there.
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Cuir de Cordoba was usually made of fine leather; often calf skins were used. The technique consisted of shaping panels of wet leather over wooden moulds, then painting them, then oil-gilding and lacquering them. Sometimes smooth panels of painted Cuir de Cordoue were used. Patterns for these panels followed fashions in silk damask, at some lag in time, since the high-relief wooden moulds were laborious to make.
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Maene executed its reredos, including a white marble high-relief tableau of The Last Supper (after Michelangelo) over the altar, carved by August Zeller.The Last Supper, Memorial Church of the Holy Nativity, from Philly Church Project. Architect Edgar V. Seeler designed a new building for The Evening Bulletin, at the northeast corner of Juniper and Filbert Streets, Philadelphia, 1906-08.Bulletin Building - Chronology, from Philadelphia Architects and Buildings.
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The sculptures on the west front at Wells include standing figures, seated figures, half-length angels and narratives in high relief. Many of the figures are life-sized or larger. Together they constitute the finest display of medieval carving in England. The figures and many of the architectural details were painted in bright colours, and the colouring scheme has been deduced from flakes of paint still adhering to some surfaces.
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The third bronze tablet at the Spanish–American War memorial. The National Society of Colonial Dames placed a third bronze tablet at the memorial on October 19, 2008. This tablet has a small eagle, clutching arrows and olive branches, in high relief at the top. It is attached to a rough grey granite base high, which is set into the earth on the far western side of the grassy plaza.
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The plaques were produced from a single mould, and are, therefore, entirely flat without any decoration at the back. Some are produced in low flattened relief, while others come out with the background in fairly high relief. Some plaques are provided with holes at the top for hanging on the wall. In course of time, the Suṅga artist produced fine pieces modeled in bold relief displaying disciplined sensitive modeling.
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Historically, porcelain was not the usual material for tiles, which were much more often made of earthenware (terracotta) or stoneware. The first porcelain tiles were made in China, for example in the 15th-century Porcelain Tower of Nanjing (now largely destroyed). Here the tiles were used for walls, which long remained typical. In Europe, a few rooms were made in palaces of porcelain plaques, often with forms in high relief.
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There is no other date of Saint-Gaudens double eagle that is worth a significant fraction of this extraordinary coin. A complete uncirculated set of all other Saint- Gaudens double eagles could be put together for just over three million dollars (less than half the price paid for the 1933), including the extremely rare, ultra-high relief, proof pattern. Without the rare pattern, the set would be less than $750,000.
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The exterior consists of three arches with two central piers framed by a corinthian half column and two end piers framed by rectangular columns. All of the piers are set upon pedestals. Above the arches there is a crowning pediment with a clock in the middle flanked by seated figures sculpted in high relief. Father time is on the right and Ceres is the figure on the left.
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Also in the church is a wall monument to Samuel Egerton by John Bacon dated 1792. This is made from variegated white and grey marble and includes high relief figures representing Hope and Patience. Also by Bacon is a monument to Jonas Langford Brooke, who died in 1784. Elsewhere in the church are other monuments and memorials to the Egerton family, and to the Venables, Cholmondeley, Leigh and Brooke families.
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From 1942 to 1949, he served as a Trustee of the Tate Gallery and in 1946 was a member of the Royal Fine Art Commission. In 1968 he wrote his autobiography, High Relief. During the Second World War Wheeler was the only sculptor to be given full-time contracts by the War Artists' Advisory Committee. In both 1941 and 1942, Wheeler was commissioned to produce portrait busts of Admiralty figures.
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Trajan oversaw the installation of many sculptures. This is evident as the coins of the time depict Trajan's Forum rich in statues and reliefs. In the Arch of Constantine, there is a long frieze from the Trajan era broken into four sections, but originally almost certainly part of a single relief. It is full of vibrant high-relief figures and is closely connected with the art of the Column.
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In front of the enclosure is a painted timber fence with a centrally placed cast iron gate. The monument is of Helidon sandstone and sits on a granite base with rough stone faces, margined and chiselled around. Surmounting this are another two steps, both smooth-faced. The lower step has a chamfered top and the words Apple Tree Creek Roll of Honour carved in high relief on the front face.
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He worked in marble, inspired by European culture and art. His studio and gallery contain 100 sculptures (more than 70 of which are made of Ural and Italian marble); 30 plaster casts; and about 300 pictures (including paintings, graphics, and architectural designs). In total, there are approximately 750 pieces, ranging from simple decorations to bas-relief and high relief busts and sculptures. Some of these pieces are sexually explicit.
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There is a stone relief under the figure, that is displaying woman observing St George slaying the dragon in the middle. There is a cave on the right, colonnade on the left and the relief also has a background with trees. The closets objects are carved in relatively high relief, whereas the cave, the colonnade and the background trees are carved in low relief. This technique is called Stiacciato.
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Despite heavy weathering, a high relief of a Madonna sitting on clouds, with Child, framed with a Zweipass, can be made out. In 1666, the Plague came once again to Cochem. This might well have been the reason why Philipp Emmerich von Winneburg and Dietrich Adolf von Metternich endowed a new building for the parish in 1680. With this new building, the Plague saint, Roch, came to the fore as the chapel's namesake.
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The figures in the scenes are smooth, rounded, and high relief, a style continued throughout the 30th Dynasty. The relief represents the interaction between the Ptolemaic kings and the Egyptian deities, which legitimized their rule in Egypt . In Ptolemaic art, the idealism seen in the art of previous dynasties continues, with some alterations. Women are portrayed as more youthful, and men begin to be portrayed in a range from idealistic to realistic.
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The only way to differentiate alforsite from other barium minerals is through microchemical analysis (Walstrom and Leising, 2005). This misleading mineral emulates the physical and structural features of apatite and is analogously similar to chlorapatite, providing alfrosite with the alternate name, barium chlorapatite. Alforsite has a low birefringence and a high relief resembling fluorapatite in thin-section. A reddish-violet cathodoluminescence appears on thin-section showing major levels of chlorine, phosphorus, and barium.
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The obverse was designed by Mint Artistic Fusion Program (AIP) Designer Justin Kunz and engraved by Mint Sculptor-Engraver Phebe Hemphill. The reverse of the coin features an American bald eagle flying left to right, and was designed by AIP Designer Chris Costello and engraved by Michael Gaudioso. The coin was struck at the West Point Mint, and was the first high-relief coin with a proof finish minted in the United States.
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Each of these slabs is decorated with refined paintings. Above the panel there is a marble stalactite cornice. Large expanses of the walls are decorated with painted plaster; the arches and the internal dome are ornamented by high-relief papier-mache cartouches, gilded and painted. The ornate carved headstones in the inner room of the mausoleum merely indicate the location of the actual tombs in a crypt directly underneath the main chamber.
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The Wang Hanzhou residence (), built in the late Qing dynasty, is located at 83, Hebei Avenue in the New River area. The wood building is in the traditional Chinese courtyard style () and open on three sides. Built of brick with dimensions of , the structure has a courtyard, atrium, and dwelling rooms. Ornate, high relief wood carvings were made in the doors and beams of the house in the designs of birds, figures, and flowers.
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Da He ding The Da He ding or Da He fangding () is an ancient Chinese bronze rectangular ding vessel from the late Shang dynasty (c. 1600–1046 BC). Unearthed in Tanheli, Ningxiang, Hunan in 1959, it is on display in the Hunan Museum. Uniquely decorated with a high-relief human face on each of its four sides, it is the only known ancient Chinese bronze cauldron to use human faces as decoration.
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High- relief ornamental designs known as the "Plastic Style" are found on warriors' equipment from Pişcolt, comprising a shield with an ornate handle and shield- boss as well as a sword in an ornamented scabbard with traces of a "dragon- pair" motif. This motif is one of the genuinely pan-European themes of early La Tène art and is found embellishing the upper end of scabbard front-plates from southeast Britain to Transylvania.
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As part of his marriage, Hugh received from FitzWalter, the town of Loughmoe. Sir Hugh founded, in 1241, a Monastery of Franciscans or Grey Friars in Waterford. Hugh's tomb is described by 17th century sources as having on it, the figure of a man in armour, in high relief, with a shield on his left arm, on which were three lions passant guardant in pale. The crest of course is that of the Plantagenets.
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The stele is carved in high relief and depicts a cavalryman, Dexileos, mounted on a horse, charging a Spartan enemy, probably at the 394 BC Battle of Nemea during the Corinthian War. Dexileos is seen in his youthfulness, shown through the lack of a beard being present. He wears a chiton, chlamys, and petasos as well as krepides on his feet. His garments flow in the wind as his horse rears upwards.
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The Way to Eternity: Egyptian Myth. Duncan Baird Publishers. p. 52 High relief and low relief illustrations of the Aten show it with a curved surface, therefore, the late scholar Hugh Nibley insisted that a more correct translation would be globe, orb or sphere, rather than disk. The first known reference to Aten the sun-disk as a deity is in the Story of Sinuhe from the 12th Dynasty,Wilkinson, Richard H. (2003).
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The statue was built presumably in the 12th century, during the reign of Parakramabahu I. The statue of Parakramabahu I is one of the best stone sculptures belonging to the Polonnaruwa period. The statue is carved in high relief on a large boulder, with full use being made of its height. Its upper body is bare except for a single thread worn over the left shoulder. A long object is held in the hands.
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The Llanos, an area of land with relatively high relief in Venezuela Nineveh Plains (Bozan, Iraq) View of Fields at Biccavolu, Eastern coastal plains, Andhra Pradesh, India Yilan Plain, Taiwan View of the South Småland peneplain at Store Mosse National Park in Sweden. North Somerset Levels taken from Dolebury Warren, England, UK Terrain near the central German town of Fulda. The Wallachian Plain, in the southern part of Argeș County. Phaestus, Greece.
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The award winners received a trophy in the form of a clock. A walnut wood base is decorated by a high-relief sculpture of a woman in a robe who carries the clock face on her shoulders. The face is made of glass, with etched gilt stars at each hour and stylized metal lightning bolts for hands. Some versions of the award were functioning electric clocks made by Jefferson Electric Company of Bellwood, Illinois.
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The tenspine grouper is a demersal species which can be found on rocky reefs to depths of at least . It has been taken as bycatch by shrimp fisheries which suggests it lives over sandy or muddy bottoms, although this requires confirmation. It forms aggregations over complex reefs with high-relief but whether this is related to spawning is not yet known. It is a rare species and its biology is little studied.
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Most of them have never been sold as the price of each piece is so high. The average prices are between $15,000-$25,000 on the current market which most Japanese people cannot afford. Within the collection there are ten known pieces most of which are of the tan/brown carved extremely high relief porcelain done in the sansui style. There are two known pieces of pure white Buddhist-style statues one of which is damaged.
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The Gates of Hell (unfinished), Kunsthaus Zürich A commission to create a portal for Paris' planned Museum of Decorative Arts was awarded to Rodin in 1880. Although the museum was never built, Rodin worked throughout his life on The Gates of Hell, a monumental sculptural group depicting scenes from Dante's Inferno in high relief. Often lacking a clear conception of his major works, Rodin compensated with hard work and a striving for perfection.Elsen, 35.
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Above the altar, the centerpiece of the reredos is a high relief sculpture of "Christ blessing, vested as a priest and surrounded by adoring angels.""St. Alban's Church, Olney," Church News (Diocese of Pennsylvania, December 1915), pp. 130-134. Henry F. Plasschaert modeled this Benediction bas relief in clay, and Maene carved it in white marble. St. Peter's Episcopal Church in Perth Amboy, New Jersey was seriously damaged in the 1918 Morgan Munitions Depot explosion.
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The eagle and sphere atop the capital at the Spanish–American War Memorial. The Spanish–American War Memorial consists of a column of gray granite high quarried in Barre, Vermont. Atop the column is a bronze eagle with outstretched wings, facing west. The eagle is mounted on a granite globe, which was quarried in Quincy, Massachusetts. A band decorated with 13 stars (representing the original Thirteen Colonies) is carved in high relief on the globe.
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Subvolcanic intrusions in the Northern Cordilleran Volcanic Province are exposed in areas of high relief. This includes volcanic plugs found at the Mount Edziza volcanic complex, Level Mountain, Hoodoo Mountain and in the Atlin and Maitland areas. Volcanic plugs in the Atlin and Maitland areas consist of olivine nephelinite and basanite magmas. Minor plugs made of gabbroic and granitic magma are associated with volcanic stratigraphy at the Mount Edziza volcanic complex and Level Mountain.
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In reality, for a circulating coin, Saint-Gaudens' high-relief double eagle was entirely impractical as each coin required three to five blows of the dies to produce. Barber had to significantly lower the relief of the design to make a production-worthy coin. From 1907 to 1933, over 70 million "Saints" would be struck, impossible with Saint-Gaudens' original design. Personally, Charles Barber was married to Martha, who died in 1899.
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American Mineralogist, 63, 28-36 Loveringite is found to be grayish white to gray in plane polarized light and does not display pleochroism. Additionally, when viewed in plane polarized light, Loveringite is found to have high relief and has sharp grain boundaries, shows fractures and cleavages well, and sticks out above other minerals in the thin section. Reflectance data indicates that loveringite is anisotropic, showing properties of different values when measured in different directions.
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In the Buddhist and Hindu art of India and Southeast Asia, high relief can also be found, although it is not as common as low to mid-reliefs. Famous examples of Indian high reliefs can be found at the Khajuraho temples, with voluptuous, twisting figures that often illustrate the erotic Kamasutra positions. In the 9th-century Prambanan temple, Central Java, high reliefs of Lokapala devatas, the guardians of deities of the directions, are found.
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The same originality applied to the capitals of columns: often carved with complete scenes with several figures. The large wooden crucifix was a German innovation at the very start of the period, as were free-standing statues of the enthroned Madonna. High relief was the dominant sculptural mode of the period. Master of Pedret, The Virgin and Child in Majesty and the Adoration of the Magi, apse fresco from Tredòs, Val d'Aran, Catalonia, Spain, c.
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The Fernando Gutierrez Barrios Auditorim has a high relief mural depicting sports in the Totonacapan region. The Chapel of Cristo Rey is located on Madero Street and is modeled after the Cathedral of Notre Dame in Paris. It contains a mural by Cano about the history of the city of Papantla. In addition to the murals, the Monument to the Voladores is located on a hill in the center of the city.
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Vertical division of the front facade emphasizes the extreme vanes, large windows on the first floor and two-tiered windows of the operating room. These windows are divided by four piers with high relief masks, which support the bank's logo sign. The facade is completed by a large overhanging cornice, above which there is a parapet with curbstones. Rustication of the first floor, cornice and arched entrance are elements borrowed from Classical architecture.
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The next school in this succession is scheduled for the Horizon West area. Lakeview Middle School, Ocoee High School and Apopka High School are already or are expected to be at capacity within 2 to 4 years. Wekiva High School Apopka High Relief opened in August 2007 to handle overflow from Apopka High School and Ocoee High School. West Orange Comprehensive Replacement itself will be at or beyond program capacity within two years.
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The main facade presents three orders of eight windows and a single sequence of nine balconies in the main floor (the "piano nobile"). Under the central balcony there is a high relief depicting an imposing marble eagle, work of Salvatore Valenti. Over the main facade's cornice, in central position, there is the statue of Saint Rosalia, work of Carlo D'Aprile (1661). Under the statue, it is located a big clock arrived from Paris in 1864.
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In 1934, her model for a portrait plaque of Edith Cowan was chosen from several local West Australian entries to be the choice for a memorial work on a clock tower in Kings Park, Perth honouring the latter. The Edith Cowan bust was in high relief above a wreath of gum leaves and nuts and would be cast in bronze, above a bronze inscription on the eastern face of the clock tower.
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It was built on the site of an old quarry aligned with the street grid, an unusual feature. Matres. Roman high relief sculpture, Corinium Museum, Cirencester As yet, no temples have been located, although numerous fine sculptures show much religious activity in the town. The missing Christian bishop represented by a deacon at the Council of Arles in 314 may come from Corinium. The town was fortified in the late 2nd century.
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It was supplied by W. H. Houghton & Co. of Washington, D.C. Cleveland's successor, Benjamin Harrison, refurbished most of the State Floor rooms again in 1891 after the White House was wired for electricity. W. H. Post & Co. of Hartford, Connecticut, did the work. The ceiling was repainted, the wallpaper replaced, and new silk damask curtains installed. The furniture in the East Room was reupholstered as well in a gold brocatelle (a brocade with the design in high relief).
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These three scarps lie on a large arc extending for more than 1000 km. Resolution Rupes is separated from Adventure Rupes by a high relief ridge informally called Rabelais Dorsum, which crosscuts the scarps. This means that Resolution Rupes and Adventure Rupes may be parts of one large structure similar in length to Discovery Rupes. The scarp is named after HMS Resolution, one of James Cook's ships on his second voyage to the Pacific, 1772–1775.
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These "checker" pieces were destroyed (except two placed in the Mint's coin collection) when it was discovered that the consent of Congress was needed to change the diameter of any coin. In 2009, the Mint struck a similar piece in .999 gold, using Saint-Gaudens's original ultra high relief design for both sides of the coin, though modified to a 50-star obverse. These pieces contain one ounce of gold, slightly more than the original double eagle.
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On the feast day, before the final blessing, the copper hat of St. Michael is placed on the head of the president-elect and a short prayer is recited for his good health. The Comunidade de Taleigão makes a provision for the expenses of the feast, novenas and vespers. In addition, the parishioners celebrate the feast of Our Lady of Rosary and Perpetua Succor. The frontispiece of the church has a Holy Spirit in high relief.
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Hard-paste porcelain with gilt relief plate, 1806, from the state porcelain service produced for U.S. President James Madison for use at the White House. Jean Népomucène Hermann Nast (1754–1817) was founder of a porcelain manufacturer that pioneered a process of high relief, multicolored hard-paste porcelain. Nast was born in Austria. He worked at a state porcelain workshop at the Palace of Versailles before starting his own factory, the manufacture de Nast, in 1783.
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The Little Cross, one of the Fassaroe crosses, at Rathmichael Lane Along Rathmichael Lane, which once would have led to the old Rathmichael Church, is a twelfth-century cross with a Crucifixion scene in high relief set in a granite boulder base.Corlett, p. 50. This is one of a series of crosses – known as the Fassaroe Crosses – to be found in the locality, all of which are believed to have been the work of the same stonemason.Corlett, p. 49.
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She continued to work with him until his death in 1929. In 1929, she married André Lavrillier, with whom she had three children, including photographer Carol-Marc Lavrillier. She participated in various Salons and exhibitions, such as the Salon d'Automne or the Salon des Tuileries and produced pieces for the French state. She was commissioned to create a high relief for the International Exposition of Art and Technology in Modern Life (1937), for the Asian and Romanian pavilions.
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There are three altarpieces in the Saint Yves church. The Rosary altarpiece has a high-relief panel showing the Virgin Mary giving the Rosary to Saint Dominic and Saint Catherine of Sienna. A statue of Saint Anne stands on one side of this altarpiece and a statue of Saint Charles Borromée stands on the other side. The altarpiece dedicated to the "Trépassé" (those who have died) was given to the church by the Dominican friars at Morlaix.
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It is one of the finest surviving Pictish carved stones, and one of the most elaborate carved stones surviving from early medieval Europe. It is now displayed, restored to its original proportions, in a room inside the parish church (open in summer; key kept locally). It bears an elaborately decorated cross in high relief on the 'front' and a figural scene on the reverse. This scene is extremely complicated and made more difficult to interpret by deliberate defacement.
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Original coloration of the stone disk, based on chemical traces of pigments. The artist of the Coyolxauhqui stone carved this disk in high relief out of a single large stone, 3.25 meters in diameter. Aztec historian Richard Townsend describes it as one of the most powerfully expressive sculptures of Mesoamerican art, using "an assurance of design and a technical virtuosity not previously seen at the pyramids." The stone was likely created under the rule of Axayacatl (1469-1481).
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The ngunda (from the root ngu, meaning mother) is an unstructured domed style decorated with high-relief patterns that was bestowed on new chiefs during investiture rites. The ngola is a taller, conical cap worn by the paramount leaders of the Kongo realm. Nearly all caps are constructed in spiral form, working from the center of the crown to the edge of the hat border. Mpu were designed to cover the spiritually vulnerable top of the head.
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Executed in 1270, it was initially located in the Romanesque presbytery, and moved to its present position in 1778. The high- relief sculptures, in Apuan marble are engraved with "Realizzato nel 1270," originally had a polychrome glass background, now mostly lost. At the steps of the columns are sculptures of lions. In the presbytery is a polyptych by Taddeo Gaddi (1350–1353) depicting the Virgin with Child with the Saints James, John the Evangelist, Peter and John the Baptist.
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His first major commission in America, was a high-relief marble memorial to Bishop John H. Hobart for Trinity Church, New York, followed by a statue of New York Governor DeWitt Clinton, and subsequently a statue of Alexander Hamilton (placed atop of the Merchants' Exchange Building New York, but destroyed by fire in 1835). The original plaster study for that work is held by the Museum of the City of New York. Amory Hall, Boston, ca.
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In 1980 he exhibited a number of his creations at the Salon d'Automne as well as in assorted exhibitions, either on his own, or alongside other artists. He manufactured screen prints in association with – amongst others – Deyriès, in l'ephémère Groupe Ptyx. He also produced numbered works from 1995, combining shapes created by means of diachronic software. Since 2008, his work has been almost entirely dedicated to Lenticular High Relief using lenticular networks invented byGabriel Lippmann in 1908.
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Plaque for the sculpture The modern figurative sculpture is made from white Carrara marble and measures approximately x x . The Smithsonian Institution categorizes the sculpture as an abstract relief and describes it as the following: "Vertical slab with figures in high-relief. On the east side there is a female figure emerging from the stone, on the west side there are two androgynous like figures facing each other." Accompanying the sculpture is a plaque which reads: .
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Fanglomerate in Death Valley National Park Alluvial deposits form in areas of high relief and are typically coarse-grained. At mountain fronts individual alluvial fans merge to form braidplains and these two environments are associated with the thickest deposits of conglomerates. The bulk of conglomerates deposited in this setting are clast-supported with a strong AB-plane imbrication. Matrix-supported conglomerates, as a result of debris-flow deposition, are quite commonly associated with many alluvial fans.
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Referred to as the Yoredale Sandstone in the late nineteenth century, this Asbian age sequence varies from 4m thick in County Leitrim to as much as 350m in the north of its range. In places it sits directly on the Dartry Limestone where the Meenymore Formation rocks are missing due to the locally high relief of the underlying erosive surface. Animal fossils are almost wholly absent from this formation though fragments of Calamites and leaf remains are more common.
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From 1846 to 1860, architect Paul Abadie undertook the restoration of the church. The remarkable hinges, fittings, door knockers and the ironwork of the two glass doors giving access to the church were made in 1851 by the ironworker Pierre Boulanger. The church is partly Romanesque (12th century), partly Gothic with a Gothic bell tower (15th century). The church hides an funny detail, a snail carved in high relief at the end of the nave, on the altar side.
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Carving is often highly detailed, with an intricate backing behind the main figure in high relief. The celebrated lost wax bronzes of the Chola dynasty (c. 850–1250) from south India, many designed to be carried in processions, include the iconic form of Shiva as Nataraja,Harle, 301-310, 325-327 with the massive granite carvings of Mahabalipuram dating from the previous Pallava dynasty.Harle, 276–284 The Chola period is also remarkable for its sculptures and bronzes.Chopra.
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For example, in northern England there was a greater affinity towards producing barbarous radiates with reverse figures with relief-less outlines, while in southern England bolder, fuller, high relief figures were more common. Similar "schools of art" exist for pieces produced in continental Europe. Barbarous radiate of Postumus Due to their unofficial manufacture, barbarous radiates exhibit many peculiarities. Reverse types portray a certain deity or personification, for example Spes, might feature a reverse legend instead for Pietas.
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The Great Antonine Altar, the Parthian Monument reliefs, post 169 AD, Ephesos Museum Vienna, Austria (20434833803) The Great Antonine Altar is a high relief monument discovered in Ephesus dating to around 169 CE. The sculpture depicts The Antonines. Beginning on the far left, Marcus Aurelius is pictured at 17-years-old. Overlapping him, Antoninus Pius stands as a prideful, mature man, bearded, as his father, Hadrian, was known to be. To the right of Antoninus Pius stands Lucius Verus.
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Reminiscent of ancient Greek coins, its reverse features an eagle and its front the classical figure of Miss Liberty. This coin stands out because only 20 of this type are known to exist and this particular coin is a Proof 69 Ultra High Relief. The coin's figures are so raised from the rest of its surface; it could not be easily stacked. "It almost looks like Miss Liberty is jumping out of the coin," said Contursi.
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The glass dome above the main staircase in Hawksley House The building was constructed in Penrith red sandstone and ashlar with a Lakeland slate roof. The exterior design is neoclassical and features Ionic porches, Tuscan window bays, architraves and dentilled cornices. The interior features a baroque, open stairwell with a glazed dome and high relief swags. The neoclassical design is repeated in the former board room, which has stucco wall panels and Ionic columns and pilasters.
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Quiahuiztlan in Tlaxcala State shares the same name as a settlement in modern Veracruz State that was occupied in the 16th century CE as part of the Totonac culture. The two places are unrelated. The Quiahuztlan in modern Veracruz State has temples, ballcourt, plazas and residences, which are built on artificial and natural terraces on the fairly high relief flanks of the mountain. The site is most- likely famous for its association with the Spanish conquistador Hernán Cortés.
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The Coronation Evangeliar cover was created by the goldsmith Hans von Reutlingen of Aachen c. 1500. Designed in high relief, the gold cover shows God the Father seated in front of the canopy of his throne. His left hand is closed over the Bible, and his right hand is raised in a gesture of blessing directed at Mary, who is shown grasping her heart during the Annunciation. The right side of the cover shows the Angel of the Annunciation.
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The Piedras Blancas marine protected areas encompass a rich nearshore, including extensive tidepools, two species of kelp, and both sandy and cobble beaches. Offshore, a high relief deepwater rocky structure attracts large forage fish populations and provides shelter for rockfish. These habitats support a particularly high diversity of birds and marine mammals including California sea lions, elephant seals, harbor seals, northern fur seals and sea otters. Historically this area was one of the most productive abalone beds in California.
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Paying homage to their early relationship, they commissioned a high relief from the prominent artist Charles Sargeant Jagger called "Scandal", which they displayed in their living room. This showed a naked couple in an intimate embrace watched by society ladies in a state of outrage. The sculpture and the Baron's relationship led to censure and outrage from their contemporaries. In 2008 "Scandal" was bought for £106,000 by the Victoria and Albert Museum where it is on display.
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A decorative theme that originated in Java, and from there emanated to other parts of Greater India, is that of the makara sea monster disgorging some other being. In this 10th- or 11th-century Cham sculpture, the makara disgorges a naga. The Cham created freestanding sandstone sculptures in the round, as well as high and bas-relief carvings of sandstone. In general, they appear to have preferred sculpting in relief, and they excelled especially at sculpture in high relief.
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At the southern periphery of the Maya region, Copán developed a new high-relief style of stelae and in 652 the twelfth king Chan Imix Kʼawiil arranged a series of these stelae to define the sacred geometry of the city, and to celebrate his royal rule and his ancestors. His son and successor Uaxaclajuun Ubʼaah Kʼawiil further developed this new high-relief style of sculpture and erected a series of intricately decorated stelae in the city's Great Plaza that brought the carving of stelae close to full in-the-round three-dimensional sculpture. Both of these kings focused on their own images on their stelae and emphasised their place in the dynastic sequence to justify their rule, possibly linked to a break in the dynastic sequence with the death of the eleventh king of Copán. After Quiriguá defeated its overlord Copán in 738, it brought massive blocks of red sandstone from quarries from the city and sculpted a series of enormous stelae that were the biggest monolithic monuments ever raised by the Maya.
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The building has a number of sculptures and a decorative frieze, depicting aspects of the work in a modernist style. The west façade on Georges Dock Way has the main entrance, flanked by two fluted niches with free-standing sculptures representing 'Day' and 'Night'. Each is just over three feet in height and executed in black basalt. Above the door is the figure of 'Speed, the Modern Mercury', carved in high relief and standing approximately 23 feet from base to top.
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There is also what remains of a piscina, or ceremonial wash basin: it has lost its projecting bowl but the niche is clear. There is a blocked doorway that formerly led to and from the chaplains' quarters, affording quick access to the chancel. The doorway on the north of the chancel leads to the vestry, which is the former Corbet mortuary. The reredos was designed by Pountney Smith, and contains high relief sculptures depicting the Nativity, the Crucifixion, and the Resurrection.
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The monastery of Tejharuyk is enclosed by a low stone wall that currently surrounds only sections of the complex. The basilica is the only relatively intact structure on the grounds and consists of a main hall, gavit, side chapel, and portico that leads into the church. The gavit is a small vaulted chamber, with open rooms adjacent to either side. Steps lead up to a portal that is adorned with decorations of grapes and vines in high-relief around the frame.
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There is some unique decorative relief around the frame of the portal. The exterior of the portico has a high-relief carving of a bird perched on its surrounding frame. The same imagery is visible again above the window to the apse, where there are two birds perched side-by-side on the rectangular frame that surrounds them. Georgian inscriptions in large script can be seen surrounding the walls of the basilica, especially below the decorative molding under the eaves of the roof.
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" Barber's design for the Lafayette dollar has often been criticized. Swiatek and Breen complained about the "lifeless head of the President [Washington]". Q. David Bowers stated that "the shallow relief of Barber's work is but a travesty of Krider's extremely detailed high-relief artistry". According to Don Taxay, "When one compares Barber's portraits to those by Du Vivier and Caunois, it is clear why [sculptor and Barber enemy] Saint-Gaudens used to refer contemptuously to the 'commercial medalists of the Mint'.
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The ceilings are decorated with spectacular polychrome floral composition decorations in high relief plaster in Modernisme or Art Nouveau style. Handcrafted wooden doors and sliding doors are artistically carved with decorative cups designs. The rear facade is composed of a ground floor on top of which rests a large terrace coated on white marble trencadis where a semicircular platform of wood, iron, ceramic and multicolored came glasswork rests forming a large semi-circular stained glass window with floral Modernisme decoration.
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The sculpture, even though in the round has a high relief quality and depicts an African man with head upturned to the heavens atop square shoulders, a twisting torso and thick slab – like arms set in an unusual akimbo position. He seems to be communicating anguish while looking towards the heavens for a solution or the dawning of a better tomorrow. Other notable sculptures created during this time were, Pocomania, Market Woman, The Prayer, Young Negro, The Diggers and The Prophet.
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There are galleries on three sides of the church. A grand organ and case is behind a tall moulded painted arch, and surrounded by choir seating; which consist of plain pews. The pulpit and reading desk is made of Portland stone, bowed front with the high relief carving of The Last Supper. The church's mannered, robust exterior conceals an unusually rich interior, all of which has been retained unchanged and helps to demonstrate the strength of Methodism on the island.
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A small inset portal sits in the middle of the front façade, with the remnants of exterior stone steps that once led to the second floor. The first floor has a single large portal at the front façade with a semi-circular lintel and decorative columns, while the left, right, and rear façades each have a small window. The left and right are surrounded by a large intricately carved cross in high-relief. Exceptionally rich decorations cover a large portion of the church.
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The facades of the two buildings are not identical, however they have similar features such as the high-relief carving running along their upper walls. The portal recesses have marble paneling in variations of black and white. The columns at the corner of the mosque have capitals of Coptic and Byzantine styles, indicating that the Mamluk craftsmen were imitating pre-Islamic designs. The huge minaret is visible from near Bab Zuwayla, and is a four storied rectangular tower of a considerable height.
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The large slab is cut into smaller pieces of between 50 and 100 pounds each, and carried slowly and carefully home by the collectors. Most carvers create a sculpture from a single piece of argillite wherever possible. However, because an increase in the size of argillite increases the potential for failure in the piece due to inherent faults and stresses, larger sculptures are sometimes made from separate pieces carved and subsequently adhered. High relief is often carved by working against the grain.
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Floral capital to a canopy column A particular feature of the station are the deep canopies which are supported by elaborate, cast-iron girders, which are in turn supported by columns with elaborate capitals. These capitals are decorated with high relief mouldings depicting different arrangements of flowers and foliage.The Railway Station Gallery The sculptor William Forsyth was employed to work on the buildings and designed the metal capitals of the columns which support the canopies above both platforms of the station.
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Other notable features include a small brass with an inscription below it to Anne Caley (around 1500) on the large squint at the south-east end of the nave. On the south wall of the aisle an alabaster and marble monument to Henry Buckenham (died 1648) and Dorothy his wife (died 1645) can be found and on the north wall of the nave is an 18th century wooden panel with the Flight into Egypt carved in high relief (probably Italian).
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Generally, Sumilao's physical configuration is characterized by extreme features. From the south to the central portion moving towards the north and north-western areas are mountain ranges, canyons, and high relief topography, including part of Mt. Kitanglad, the second highest mountain peak in the Philippines, and the Palaopao Mountains. In the Upper Kulaman areas, settlements sprawl between the vast stretches of pineapple plantations. Per topographic map of the municipality from NAMRIA, the average elevation of Sumilao is 600 meters above sea level.
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Alan Turing, sometimes spelled Allen Turing and also known as Allen Turing Gargoyle, is an outdoor 1988 hammered copper sheet sculpture of Alan Turing by Wayne Chabre, installed on the exterior of Deschutes Hall on the University of Oregon campus in Eugene, Oregon, in the United States. The portrait face in high relief measures approximately x x and cost $2,500. Its condition was undetermined when the Smithsonian Institution surveyed the work as part of its "Save Outdoor Sculpture!" program in March 1993.
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This can be seen in the south transept area and was executed by the Brest sculptor Jean Berthouloux in 1654 to 1656. Four twisted columns support a pediment with a niche holding a sculpted study of Sainte Anne and her daughter the Virgin Mary. The central panel of the altarpiece has the 15 medallions, painted and in high-relief which traditionally form part of Rosary altarpieces and in niches in the base are statues of Christ holding a book and Gamaliel.
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In addition, Peale alleged that the head was in such high relief that the coins would not stack. Patterson sent Peale's letter to Meredith on December 25, noting that this meant there would be a lengthy delay. Longacre completed the lower-relief dies about January 12, 1850. Peale did not test them for two weeks; when he did, he rejected them, stating that Liberty's head opposed the eagle on the reverse, making it difficult for the full design to be brought forth.
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There was a medallion in the centre, with a figure in high relief. The door opened on the Via Cornelia, which was on the same level. This tomb is located under the seventh step in front of the middle door of the church. I am told that the sarcophagus now used as a fountain, in the court of the Swiss Guards, was discovered at the time of Gregory XIII in the same place, and that it contained the body of a pagan.
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This temple is the relic of a vertebra of Pedro de Betancur and bell he used to summon the faithful. In the main altar are images of Peter of Saint Joseph Betancur and Blessed María Encarnación Rosal, Bethlehemites Sisters reformer. In the central part of the altarpiece is in high relief the scene of the Nativity of Jesus in Bethlehem, central theme of Bethlehemite spirituality. It is a temple of a single ship that has attached a convent run by the Sisters Betlemitas.
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Part of the boudoir The Porcelain boudoir of Maria Amalia of Saxony is a rococo interior now located in the Palace of Capodimonte in Naples. It was originally made for the Palace of Portici in 1757–59, but has now been moved to the Capodimonte Palace.Le Corbellier, 21It is named after Maria Amalia of Saxony, queen of Naples. It consists of white porcelain panels decorated in high relief with festoons and genre scenes, drawing on the Chinoiserie popular at the time.
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As they near one year of age, they move to intermediate-relief habitats as the previous year's fish move on to high- relief reefs with room for more individuals. Around artificial reefs such as oil platforms, smaller fish spend time in the upper part of the water column while more mature (and larger) adults live in deeper areas. These larger fish do not allow smaller individuals to share this territory. The largest red snapper spread out over open habitats, as well as reefs.
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The Bull of Osuna The Bull of Osuna is a limestone high relief Iberian sculpture, 82 cm high, dated from the end of the 5th century BCE, that is on display at the National Archaeological Museum of Spain in Madrid. It was found in the archeological site of the ancient Iberian city of Urso (Osuna) in Seville, Spain. The bull is ashlar and was carved, (probably in a Turdetani workshop), as a funeral monument. It is believed to have had some protective function.
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Young canaries live in relatively shallow water, moving to deeper water as they mature. Adults are mostly found at depths of 80–200 meters (with two recorded at 838 meters), tending to collect in groups around pinnacles and similar high-relief rock formations, especially where the current is strong. Some off Oregon have been reported living over flat rock and mud-boulder bottoms. They may move considerable distances; one individual covered 700 km in four years after being tagged and released.
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Most pieces are a tan/brown in color, high relief, carved Sansui which is modeled after Chinese water, mountain and landscape pictures the Japanese call Sansui ga. It is unknown if Buemon Hatase is the son or grandson of Hatase Jūbei. What is known is that Seiko company was the company that eventually took over the kiln. It is also known that Shibata Senpei and more famous Mitsutake Hikoshichi were both trained by Buemon and worked for him after he bought the kiln.
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The facade of the upper 42 stories consists of approximately of thick pleated chromium nickel panels, described as being 20-gauge "Type 302" stainless steel. There are 7,000 panels, embossed with pyramidal forms in high relief, on the building. These panels can be grouped into four types: singular rosettes vertically adjacent to the windows; pairings of large and small rosettes beside the windows; and two types of interlocking pyramidal forms. The panels were designed so that rain could be washed away easily.
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At nearly 6 metres high, the Amitābha Buddha is the largest ancient Chinese statue in the West. Although largely intact, the now missing hands would have been fixed into the arm sockets by dowels. The right hand would have been raised in the gesture of fearlessness (abhayamudra), and the left hand lowered in the gesture of bestowal (varadamudra). The figure was carved in high relief to reveal garments with very flat folds, which was typical of figurative art in the Sui period.
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South East of Port Talbot is dominated by Pennant sandstone which forms this high relief area including Mynydd Margam, Mynydd Dinas and the other mountains. The pennant sandstone is made up of two formations which are the Rhondda Member and Brithdir Member. The sandstone formed in Carboniferous swamps 300 million years ago. Pennant sandstone is a micacous sandstone which has a brown colouration with areas of red staining where iron from pyrite in coal has weathered creating a rust colouration.
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He is crowned by a Victory standing behind him and holding a palm in her left hand. To Bacchus's right sits Ariadne, crowned with foliage but with her body partly hidden by a Bacchante. The right hand group illustrates Bacchus's triumph over India with exotic figures - captives wearing a short tunic, mantle and barbarian German trousers and with braided hairstyles. One of them rides an elephant whose trunk and tusks were carved in very high relief and have not survived.
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Unusually, the garbhagriha is semi-circular, curving behind the linga. An image of Shiva in sthanaka posture is carved in high relief. On the front portion of the linga the God is standing on the shoulders of the apasmarapurusha or a dwarf.Rao, 65-67 The figure of Shiva resembles a vigorous hunter; He holds a ram or antelope in his right hand and a small water pot in his left hand.Rao, 66 calls it a ram, Blurton, 78 also suggests an antelope.
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Main portal with view of clock The main facade of the cathedral faces south. The main portal is centered in the main facade and is the highest of the cathedral's three portals. Statues of Saint Peter and Paul the Apostle stand between the columns of the portal, while Saint Andrew and James the Just are depicted on the secondary doorway. In the center of this doorway is a high relief of the Assumption of the Virgin Mary, to whom the cathedral is dedicated.
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It has high relief, which is the apparent topography exhibited by minerals in thin section as a consequence of refractive index. It is biaxial, so it has two optic axes and three indices of refraction n depending on the crystallographic direction. The refractive index is the ratio of the velocity of light in a vacuum to that in the mineral. The difference between the highest and lowest indices of refraction is called the birefringence, so the birefringence of eveite is β = .032.
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The maximum birefringence is .023, the difference between the highest (nc=1.730) and lowest (na=1.707) indices of refraction within the mineral. In a medium with an index of refraction equaling 1.53, Nambulite has a calculated relief of 1.71–1.73, giving it a moderate to high relief. Relief is a measure of the difference between the index of refraction of the mineral and that of the medium (often Canada balsam or other epoxy with an RI of around 1.53–1.54).
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The Praetorians Relief is a Roman marble relief dated to AD and housed in the Louvre-Lens. It depicts three soldiers in high relief in the foreground, while two others in the background, accompanied by a standard bearer, are made in bas-relief. The standard-bearer holds an aquila standard, where the eagle grasps a thunderbolt in its talons. The soldiers have been identified as Praetorians due to the richness of the apparel, particularly the helmets, the ceremonial dress and oval shields.
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It features four Asiatic Lions standing back to back. They are mounted on an abacus with a frieze carrying sculptures in high relief of an elephant, a galloping horse, a bull, and a lion, separated by intervening spoked chariot-wheels. The whole sits upon a bell-shaped lotus. The capital was originally crowned by a 'Wheel of Dharma' (Dharmachakra popularly known in India as the "Ashoka Chakra"), with 32 spokes, of which a few fragments were found on the site.
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The basalt sculpture is 0.41 metres high, 0.73 m long and 0.23 m wide. It is in very good condition. The head and the front legs are fully carved in the round; the left side is carved in high relief upon the inscribed plaque between the feet and the body. The right side, backside, left hindquarters and the tail are unworked, probably because they were not visible in the statue's original location by a door or next to another statue.
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The plaster is carved in a variety of decorative designs, including geometric patterns; floral motifs in high relief; simulated brick bond, and brick end-plugs – in some areas arranged to configure rectangular kufic inscriptions. On the sanctuary walls and dome, traces indicate that plaster was painted in a vivid array of colors. The lofty stucco mihrab describes an uncommon proportion, reaching the zone of transition. Across the interior of the dome, decorative terracotta elements form eight radial ribs; diverse painted plaster patterns fill the interstices.
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Instead Charles-Alphonse Guméry's gilded bronze sculptural groups Harmony and Poetry were installed in 1869. The linear frieze seen in the model was also redesigned with alternating low- and high-relief decorative medallions bearing the gilded letters from the imperial monogram ("N" for Napoléon, "E" for Empereur). The custom-designed letters were not ready in time for the unveiling and were replaced with commercially available substitutes. After the fall of the empire in 1870, Garnier was relieved to be able to remove them from the medallions.
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The small statue of the god is carved from highly polished ironwood (Casuarina equisetifolia). Shown standing upright, small anthropomorphic figurines are carved in high relief around the chest and arms. Coir bindings along the arm cover remains of a cloth and feathers that would have once been worn by the deity. The exact meaning and name of this masculine idol remains unknown but, based on its artistic style (particularly the distinctive formation of the eyes), it has been attributed to a workshop on the island of Rarotonga.
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Stauffer, Barbara "Seeds of Change" The New Worlds Spring/Summer 1991 No.2 pp.6-7 Spaghetti Meets Tomato was commissioned by the Smithsonian Institution to capture the biological and cultural impacts of the encounter between Old and New Worlds. Roark's piece was to tell the story of how the spaghetti met the tomato in a humorous way. The result was a 10'x10'x5' high relief map of the world with depictions of various foods making up the topography and borders of countries.
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All of these high relief mouldings are all acknowledged to be excellent examples of the Jacobean period. George Romney On the wall along the final top flight of stairs can be seen some 18th-century wallpaper, which was discovered during restoration work. While it has become distressed with time, it is considered to be among the best examples which have survived into present times. Like most houses that have served as homes, it has when needs prevail, been improved and modernised, by the Clitherow family.
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On the front of the obelisk, in high relief, is an image of Mullan wearing his traditional moccasin boots and buckskins. He stands contrapposto, a pistol tucked in his belt and his right hand holding flintlock rifle. The monuments were designed by artist Edgar Samuel Paxson, a resident of Missoula, and were a project of the Society of Montana Pioneers (a private organization of white men who settled in Montana prior to establishment of the Montana Territory). Seven statues were erected in Montana, and six in Idaho.
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Monumento ad Ascanio Sobrero – Cesare Biscarra e Giorgio Ceragioli, Cristina Beltrami, on-line article in www.duesecolidiscultura.it (accessed on 16 February 2010) After World War I his artistic activity went on both as sculptor and as painter: noticeable among this period's sculptures are an Alpino's statue in Villar Perosa and the bronze high relief conceived to commemorate dead bersaglieri of the Great War; sculpted in 1923 it was located in 1936 in the Lamarmora gardens of Turin. He died in Turin on 11 December 1947.
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Figure rolled glass The elaborate patterns found on figured (or 'Cathedral') rolled-plate glass are produced in a similar fashion to the rolled plate glass process except that the plate is cast between two rollers, one of which carries a pattern. On occasion, both rollers can carry a pattern. The pattern is impressed upon the sheet by a printing roller which is brought down upon the glass as it leaves the main rolls while still soft. This glass shows a pattern in high relief.
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Additionally, the presence of thick crust and complex volcano-tectonic fabric implies the plateau developed through the migration of the Terceira Rift towards the NE, causing a constant position over a fixed hotspot. As previously mentioned, the Azores hotspot is thought to be the primary source for the excess magmatism along the Terceira Rift, resulting in the anomalously high relief of along-strike topography, and is considered to be sampling a relatively undegassed, primitive reservoir.Madureira, P., Moreira, M., Mata, J., & Allègre, C. J. (2005).
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The three panels are arranged in a semicircle and sit on top of a Norwegian granite base. Each panel is solid bronze. On the central panel, George Westinghouse is depicted at his drafting table in a bas-relief medallion flanked by high-relief figures of a mechanic and an engineer, along with dedicatory text and a granite plaque commemorating the first trial of the Westinghouse air brake. According to the Pittsburgh Press, the models for the two workers were actual Westinghouse employees Thomas Campbell and Anton Kusebauch.
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Depiction on a French postcard, c.1900 The relief is located in a niche about 100-120 m up a granite cliff-face of Mount Sipylus, overlooking the city of Manisa, the ancient Lydian city of Magnesia ad Sipylum, and the Gediz river valley (the ancient Hermos). It is over 6 m high and in poor condition. A seated figure 8-10 m high is depicted in high relief (but not completely separated from the cliff face), who looks northwards and wears a tall pointed headdress.
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The bowl of the cup is made of turned maplewood, while the foot is silver. Silver and silver-gilt hinged straps and a rim were added in the 16th century, when the cup was owned by the Bannatynes. This work may have been carried out by Peter Lymeburner, a goldsmith in Glasgow. In the bottom of the bowl is a metal boss, decorated with a recumbent and grinning couchant lion in high relief, who looks up at the viewer, and is surrounded by six coats of arms.
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On the shoulder are high-relief designs of dragons with their three-dimensional heads on the centre and their bodies wriggling along the sides. On the four corners of the shoulder are four protruding rams’ heads with curly horns, the belly of the vessel forming their chests and their legs extending down the ring foot. Their heads have engraved thunder patterns while there are scales on their chests and backs. Both sides are decorated with an elegant design of a bird with a high crest.
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At 285m high, Chichiriviche Hill is the highest point in the park. It stands in high relief amid the surrounding coastal environment, of Tertiary-period coral origin, belonging to the geological formation called Capadare - Agua Linda. The Chichiriviche Hill, is the landscape less associated with coastal and marine nature that characterizes the Morrocoy National Park. Within the Morrocoy National Park bulk flow of tourists from all over the national territory, who will enjoy the variety of beaches, some come to camp and others come with their boats.
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Saint-Gaudens is said to have been given inspiration for his standing eagle design from this illustration of an Ancient Egyptian coin. With the exception of the 1907 high relief pieces, no date or mintmark of the circulation strikes of the Indian Head eagle before 1920 is particularly rare. The 1911-D, with a mintage of 30,100 commands a significant premium in mint state or uncirculated condition, but only a modest one in circulated grades. Despite its mintage of 126,500, the 1920-S is a major rarity.
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The last one added was that of Ella T. Grasso (b. 1919), the first female governor of the state, who died in 1981 of cancer shortly after resigning her office. There are high relief scenes from the state's history in the 16 tympana above the doors, except for the carving above the main north door, which is of the state seal. The typanum of the main east door holds The Charter Oak by Charles Salewski, the first piece of sculpture created for the Capitol.
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By the Terminal Classic, the institution of divine kingship declined, and Maya kings began to be depicted with their subordinate lords. As the Classic Period came to an end, stelae ceased to be erected, with the last known examples being raised in 909–910. Detail of Stela B, a high relief sculpture from Copán depicting the king alt=Intricately carved portrait of a human face looking to the right, seen almost in profile against a background of trees. The face is surrounded by highly ornate interlocking designs.
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The inside of the lid is magnificently illustrated with three miracles attributed to the saint. His holy monk-like figure and two sets of the arms of Anjou also appear in high relief on both the triangle areas of the lid. They are both richly decorated in the same manner together with the shield of Hungarian bars and the characteristic Angevin fleur-de-lis, a cloak and a helmet with a crown. Above the crowns rises an ostrich with outspread wings and a horseshoe in its beak.
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This carving and many others that may be found on the church are considered to be masterpieces of artwork done by Momik Vardpet, who according to inscriptions was also the architect for the church. He is best known for his high-relief carvings at the monastery of Noravank, located approximately 6 kilometers southeast from Areni. Upon the tympanum above the lintel of the southern portal are the carvings of crosses. In the center of the church interior, arched pendentives support the drum and dome above.
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High-relief carvings of mythical creatures adorn each of the four stone panels between the pendentives and base of the drum. Small vertical windows around the drum as well as small windows at each of the four façades let light into the main floor below. A semi-circular apse is located at the eastern wall of the structure and small "studies" or prayer rooms are adjacent on either side. The arched window above the apse is divided by a single column for decorative and structural purposes.
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The design of the Shrine is based on the ancient Mausoleum at Halicarnassus, one of the Seven Wonders of the World, and the Parthenon in Athens.Taylor, p. 101. It is a structure of square plan roofed by a stepped pyramid and entered on the north and south through classical porticos, each of eight fluted Doric columns supporting a pediment containing sculpture in high relief. The porticos are approached by wide flights of steps which rise in stages to the podium on which the Shrine sits.
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Nearby, as though to warn the viewer of the dangers of over drinking, a huge worm is depicted entering the eye socket of a skull with the words inscribed "Respice finem". The sablières above the pulpit have high relief carvings including a depiction of three horses pulling a plough steered by a farm labourer, a man sowing cereal seeds and a cart loaded with wine barrels. Art historians have suggested these two carvings relate to the eucharist, with the theme of bread and wine.
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Mexico 68 It is the work of architects Augusto Pérez, Raúl Salinas and Jorge Bravo Moro. The "Estadio Universitario, original name, was built specifically for the former practice of football. Main entrance and high relief of Diego Rivera On the east side of University Olympic Stadium, is a mural by Diego Rivera, called "The University, the Mexican family, peace and youth sports. In the construction of the relief in natural colored stones shows the university shield, with the condor and the eagle on a cactus.
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One of the Taranaki backs relieved with a long kick and the visiting forwards were ready to carry on the movement. Meldrum however got possession, and one of his powerful kicks put his side again on the attack. Some effective kicking by the Taranaki players soon took the game to the Auckland quarter, whence a shot went in, but was too high. Relief came for Auckland in the shape of a grand run by Dimery, who when he had passed nearly all the opposition centred to Foreshaw.
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Reredos, St. Johns RC Church, Orange NJ. Goyers Brothers, Louvain, Belgium, 1892 The centerpiece of the interior is the carved oak paneling and reredos of the high altar, created by the Goyers Brothers of Louvain, Belgium, in 1892. The four rear panels which flank the altar contain angel figures in high relief. Each angel carries a scroll with a phrase from the hymn "Gloria in excelsis Deo." The carved work is continued on the reredos, with the Last Supper, other sacred scenes, and figures of angels and saints carried upward to a great height.
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On each side of the nave are three three-light windows with pointed arches, and at the west end there is on each side a niche above a roundel. The transepts have parapets, and a blank four-light lancet window in each gable. The side walls of the chancel are blank, and at the east end is a four-light lancet window with transoms, on each side of which is a niche. Over the east window is a coronet carved in high relief, and a datestone inscribed with "1783".
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The lower portion of this section is damaged and a part of both the text and the figure is missing. The middle section of the column, forming a type of capital, is a high-relief sculpture of the head of a bat executed in the curved lines of the Maya style, with small eyes and eyebrows formed by two small volutes. The leaf-shaped nose is characteristic of the Common Vampire Bat (Desmodus rotundus). The mouth is open, exposing the partly preserved fangs, and a prominent tongue extends downwards.
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Home ranges in California sheephead vary greatly, and this variability can be attributed to differences in habitat shape (embayment versus contiguous coastline) and to natural habitat boundaries (deep, sandy expanses). They are found in rocky- reef areas 54% of the time, and within those areas, a greater percentage of daytime is found in high relief areas. Although their home ranges are thought of as particularly well defined, the size and fidelity may vary ontogenetically and seasonally and with habitat availability. Sheephead home ranges are relatively small, and the fish have a very high site attachment.
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Because Dione is relatively small, an impact causing a 35 kilometer crater could have spun the satellite. Because there are many craters larger than , Dione could have been repeatedly spun during its early heavy bombardment. The pattern of cratering since then and the bright albedo of the leading side suggests that Dione has remained in its current orientation for several billion years. Like Callisto, Dione's craters lack the high-relief features seen on the Moon and Mercury; this is probably due to slumping of the weak icy crust over geologic time.
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Frontage with entrance at rounded south-west corner The Gibson Hall is a Grade I listed building on Bishopsgate in the City of London. The building is named after its architect, John Gibson. Built of Portland stone in the classical style with engaged Corinthian columns, the building was commissioned as a new head office by the directors of the National Provincial Bank of England and completed in 1865. The exterior elevation features eight panels of allegorical scenes in high relief representing the achievements of mankind: the Arts, Commerce, Science, Manufactures, Agriculture, Navigation, Shipbuilding and Mining.
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The piece was highly successful in the première and immediately encored. Jacques Lonchampt, from Le Monde, wrote that Synaphaï has "a torrential score, tossing in a kind of perpetual tremolo on top of which break through frenzied rhythmic sequences, but also a whole agitation, shuddering and truly musical". Musicologist Henry-Louis de La Grange said of the piece: "Set against a flamboyant orchestral tapestry, occasionally pierced by harsh cries from the brass, the highly elaborate piano part (the score uses one stave for each finger!) stands out in high relief, with a tremendous, rhythmic drive".
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1, p. 34f. On the west end of the hypostyle hall lies the holiest place of the temple, a sanctuary dedicated to Mentuhotep and Amun-Ra leading to a small speos which housed a larger-than-life statue of the king. The sanctuary itself housed a statue of Amun-Re and was surrounded on three sides by walls and on one side by the cliff. The inner and outer faces of these walls were all decorated with painted inscriptions and representations of the kings and gods in high relief.
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Particularly to achieve the above confrontational blending of antithetical elements, the discernible elements include the high relief which may be detached from the plate of the panel, the kinesiological freedoms of the sculptures achieved through their details, as well as the dramatic intensity reflected in the figures to demonstrate the passion and the fury of the conflict of enemies in lively battle scenes.Ροζίνα Κολώνια, Το Αρχαιολογικό Μουσείο Δελφών, Κοινωφελές Ίδρυμα Ιωάννη Σ. Λάτση, Ολκός, 2006, σελ. 307. Βαγγέλη Πεντάζου - Μαρίας Σαρλά, Δελφοί, Β. Γιαννίκος - Β. Καλδής Ο.Ε., 1984, σελ. 138 - 139.
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The Saka warrior (4-3cc BC) in ceremonial clothes was buried in this mound. The quality of the processing of his gold things testifies that the Saka masters had good skills of such types of work with metal as sculptural casting, high-relief and base-relief stamping, embossing and engraving. It makes the unique finding one of the samples of the world level. In 1999 archeological expedition under the leadership of Samashev discovered a unique burial place-the mound of Berel, located close to Berel village in Katon- Karagay region of East Kazakhstan.
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It is high, and its opening measures by , which is slightly larger than its bottom. The most unique feature of the vessel is that each of its four sides is decorated with a dominant human face in high-relief, which is found in no other ancient Chinese bronzeware. Around the faces are small symbolic decorations of horns and claws, indicating a half-human, half-animal nature of the figures. There are many speculations regarding the identity of the figures, including ancient mythological figures such as Taotie, Zhurong, Chiyou, and the four-faced Yellow Emperor.
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BM 537 Achilles (left) and Penthesilea (on the ground). The battle of Achilles and Penthesileia. Lucanian red-figure bell- krater, late 5th century BC At the Temple of Apollo Epicurius, built in the mid- to late-5th century BC, scenes from the Trojan War are preserved in the Bassae Frieze, a high relief marble sculpture in 23 panels. Here the Greek army is charged by the Amazons, who gain the upper hand, and at the height of the battle Achilles slays Penthesilea on a slab known as BM 537.
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The ivory is fractured in several places, with some sections missing completely, together with high-relief areas such as the female figure's face, left hand and right arm. This figure stands before a round altar, holding two lit torches now partially missing. Cymbals hang from a pine tree overhead; both the tree and its hangings are attributes of the goddess Cybele and her consort Attis.Simon, 56 The Symmachi leaf in the London diptych has an ivy-crowned woman sprinkling incense over the flames of a square altar, garlanded with oak wreaths.
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The summers are relatively dry, moderately warm and sunny. The annual maximum temperatures exceed several times a year over 30 °C and few years when this threshold is not reached. The city has about 1,750 hours of sunshine each year (nearly 2,000 hours in 2003 and 2010). It is located in a region with relatively high relief, well exposed to winds from SW, consequently more humid with annual rainfall heights between 800 and 1000 mm (≈ 900 mm in 2001 and 2002, between 600 and 800 mm between 2003 and 2006).
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Einstein Gargoyle, also referred to as Albert Einstein, Einstein, and Einstein Gargoyles, is an outdoor 1986 sculpture by Wayne Chabre, installed on the exterior of Willamette Hall on the University of Oregon campus in Eugene, Oregon, United States. The portrait bust depicts Albert Einstein in high relief with a fluttering necktie, and was inspired by a photograph of the scientist on his birthday. It is made of hammered copper sheet and measures approximately x x . The sculpture's condition was undetermined when it was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993.
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Santa Cruz is traversed by mountain ranges and high relief that include part of the famed Mount Apo, the highest mountain peak in the Philippines, straddle the south, central, north and north-western portions of the municipality. The rugged topography of the central area gradually undulates toward the coastal plains of the north- eastern, eastern and south-eastern parts. Here, settlements sprawl contiguously along the coast of Davao Gulf under the vast monotony of coconut plantations. On the western frontier, a plateau stretches toward Barangay Kapatagan of Digos City.
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It is said to be that of the unquiet spirit of young master John Clitherow, who drowned at an untimely and early age. After the second flight of stairs one arrives at the second floor. To the right it the door to a small anteroom on the west side of the house. Next to this is the state bedroom with a splendid Jacobean decorated plaster ceiling in high relief. The central panel depicts a female figure representing ‘Hope’ with her cross-anchor, below is the word in Latin.
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Ferme ornee were an expression in landscape gardening of the Romantic Movement of 18th-century Europe, i.e. a working farm, domestic animals, natural landscape joined with follies and grottoes, statuary and classical texts combined with avenued walks, flowing water, lakes, areas of light and shade, special plantings and inspirational views. The house itself is decorated with a porch supported upon Corinthian pillars, and surmounted by a facade bearing sculptured urns at its three angles. The tympanum is filled in with a heraldic shield and scroll-work in high relief (Millar 1885).
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Close by are a few remains of the old city wall. Arch of Sergii Byzantine Piran Reliquary at the Pula Archeological Museum The Gate of Hercules dates from the 1st century. At the top of the single arch one can see the bearded head of Hercules, carved in high-relief, and his club on the adjoining voussoir. A damaged inscription, close to the club, contains the names of Lucius Calpurnius Piso and Gaius Cassius Longinus who were entrusted by the Roman senate to found a colony at the site of Pula.
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Front view of the church Santi Bartolomeo ed Alessandro dei Bergamaschi (Saint Bartholomew the Apostle and Alexander of Bergamo of the inhabitants of Bergamo) is a little church in Piazza Colonna in Rome, Italy, next to Palazzo Wedekind. Originally it was named Santa Maria della Pietà, from the high relief over the door. The present Santa Maria della Pietà in Rome is in Vatican City. In its origins (1591) the church was the chapel erected by padre Ferrante Ruiz for the Ospedale dei Pazzarelli, Rome's first insane asylum.
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The church has a brick façade with alternate courses raised and recessed; the façade is capped with travertine and the doors and windows are framed with the same material. The floor plan, with a central nave of approximately 70 metres in length and flanked by two aisles, is a hybrid of a Latin cross and a Greek cross. The hemispherical dome is 36 metres high and 20 metres in diameter. Over the main portal there is a high relief by Arturo Martini depicting the sacred heart of Jesus.
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The new church was 61 feet long and 42 feet wide. It had a tower and spire rising from the north-west corner of the building, with a total height of about 150 feet. The south, east and west fronts each had three windows, with an elliptical pediment over the central one; the pediment on the south front, towards Cannon Street, was decorated with a carved wreath, flanked by festoons in high relief, while the heads of the flanking windows were decorated with festoons of drapery. This decoration was omitted on the other sides.
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The works taken by the British were a treasure trove of bronze and ivory sculptures, including king heads, queen mother heads, leopard figurines, bells, and a great number of images sculpted in high relief, all of which were executed with a mastery of lost-wax casting. Later, in 1910, the German researcher Leo Frobenius carried out an expedition to Africa with the aim of collecting works of African art for museums in his country. Today perhaps as few as fifty pieces remain in Nigeria although approximately 2,400 pieces are held in European and American collections.
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The earliest English church monuments were simple stone coffin-shaped grave coverings incised with a cross or similar design; the hogback form is one of the earliest types. The first attempts at commemorative portraiture emerged in the 13th century, executed in low relief, horizontal but as in life. Gradually these became full high-relief effigies, usually recumbent, as in death, and, by the 14th century, with hands together in prayer. In general, such monumental effigies were carved in stone, marble or wood, or cast in bronze or brass.
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Montgomery Meigs later had his son's body moved to Arlington National Cemetery, where it rests in a tomb next to his own and many others of the Meigs family. John Rodgers Meigs' tomb is covered by a distinctive bronze gisant by Theophilus Fisk Mills.Goode, James M., "The Outdoor Sculpture of Washington, D.C., A Comprehensive Historical Guide," Washington, D.C.: Smithsonian Institution Press, 1974.p. 202 The high relief sculpture depicts a two-thirds life-size John Rodgers Meigs, in his first lieutenant's engineer uniform, lying on his back in the mud.
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On the upper portion of one column on the left is a symbol or device somewhat resembling a dagoba, with a rude canopy over it. The arched roof has had wooden rafters as at Karle and elsewhere, but they are gone, and the only remains of the woodwork is a portion of the latticed screen in the front arch. The façade bears a strong family likeness to that at Bhaja. On the left side is a fragment of sculpture in high-relief part of the head of a single figure about twice life-size.
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In the Yelagin Palace Pimenov created statues for the facades of the kitchen building: bas-reliefs for the greenhouse and high-relief figures for the lobby. For the Mikhailovsky Palace his work included the composition of winged figures of Glory, trophies in the timpanas of the main facade and numerous reliefs above the ground floor windows. He also produced decorations for the interiors, though only caryatids in the gallery and bas-reliefs in the White Hall survive. In 1827 Demut-Malinovsky and Pimenov sculpted decorations for the arch of Rossi's General Staff Building.
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The main portal is made of sandstone with a high relief of Saint James the Greater which as has an inscription in Nahuatl. The archangel is commemorated on 8 May and 29 September, with Chinelos, rodeo and other traditional events. Near the village, there is an area called Las Calaveras at the foot of the Mesontepec Hill, which has a small pyramid called Tequipa. San Miguel Topilejo was founded by Franciscan friars under Martín de Valencia. Topilejo is from Nahuatl and means “he who wields the precious scepter of command”.
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Renewed agreements in 1718 increased the marble relief panels to the eight that were installed, and the ensemble was inaugurated in 1729. The final two statues, Minerva and Aurora, were announced as ready by Monnot in 1731, but did not actually reach Kassel until 1734. The architect of the garden pavilion is unknown; Monnot's mythological sculptures occupy niches in the massive central pier, and his eight large white marble high relief panels of subjects from Ovid's Metamorphoses fill the piers between arch-headed windows. Pierre- Étienne Monnot died in Rome.
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The Oak Ridges Moraine probably formed in the Late Wisconsin glacial period. Ice melt from the Niagara Escarpment flowed into the western boundaries of the moraine, wherein conduits beneath the ice expanded to form a west-to-east passage between the main Laurentide Ice Sheet and a mass of ice in the Lake Ontario basin. Stratified sediment was deposited rapidly on the high-relief erosional surface. Up to 150 m (500 ft) in some areas, the deposits occurred on surfaces defined by highly eroded channels and drumlin uplands.
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The Grave Stele of Dexileos, is the stele of the tomb of an Athenian cavalryman named Dexileos (Greek: ΔΕ11pxΙΛΕΩΣ) who died in the Corinthian War against Sparta in 394 BC. The stele is attributed to “The Dexileos Sculptor”. Its creation can be dated to 394 BC, based on the inscription on its bottom, which provides the dates of birth and death of Dexileos. The stele is made out of an expensive variety of Pentelic marble and is tall. It includes a high relief sculpture depicting a battle scene with an inscription below it.
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The Revolving Tomb is in the way to Talas in Kayseri, as it is called, does not revolve, but its cylindrical form makes it look as though it might. Built in 1276 as the final resting-place of Şah Cihan Hatun, an imperial princess, it is covered in high-relief arabesque decoration depicting animals and plants. The nearby Sirçali Kümbet is not quite as elaborate. The Çifte Kümbet (Double Tomb) (also in Kayseri), 5 km along on the way to Sivas, is yet another of these characteristic Seljuq royal tombs.
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Elizabeth Wyn Wood's high relief of goaltender Turk Broda at Ryerson University in Toronto. In ice hockey, the goaltender or goalie is the player responsible for preventing the hockey puck from entering their team's net, thus preventing the opposing team from scoring. The goaltender usually plays in or near the area in front of the net called the goal crease (often referred to simply as the crease or the net). Goaltenders tend to stay at or beyond the top of the crease to cut down on the angle of shots.
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The façade of the Palais Longo is simple and regular in design. Twin flights of steps lead to a baroque entrance with a distinctive stone frame decorated with two cherubs and a female bust. The Baron Longo estate in Egna, Alto Adige; Palais Longo The interior boasts stucco decoration, painted wallpaper and ceiling paintings depicting events from the Old Testament, hunting scenes and images from Greek mythology including the abduction of Orithyia by Boreas. There are also high relief works in stucco by Franz Hannibal Bittner and frescos by Giacomo Antonio Delai.
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Sfruz has kept its original layout, with its rural homes and noble buildings featuring stone portals, halls and timber superstructures as well as a few frescoes. The church stands opposite via Predaia and shows a number of interesting architectural features in the local tradition, including a portal from 1704 with a crest and an unusual lancet arch. An alto-rilievo (high-relief) of S. Barbara - patron saint of miners - is located at the top of the road, after the playground. Sfruz's parish church is dedicated to S. Agatha.
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These linked thematically with sculptures in the three niches set up in the north gable, the central figure there presumably being St Mary (to whom the priory was dedicated). Framed by this devotional tableau, the armorial display spreads across the whole width of wall above the entry archways. In five rows each of fourteen chequered squares, 35 shields of arms carved in high relief, with whimsical figures and grotesques crowding into their surrounds, alternate with carved fleurs-de-lys set into flushwork panels.The interpretation of these arms by David Elisha Davy (British Library, Davy Add.
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The belltower is decorated with four, large statues in high relief, representing the saints venerated in the diocese: Saint Michael the Archangel; Saint Genesius of Arles, the first patron of the cathedral; either Saint Florus, the legendary first bishop of Lodève and the apostle of the Auvergne, or Saint Amand, bishop of Rodez; and Saint Fulcran, bishop of Lodève in the 10th century and the present patron of the cathedral. The cathedral building is also ornamented with quantities of sculpted brackets, capitals and gargoyles. The tympanum over the portal is Gothic revival. Buttresses.
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The belly has a design of a tiger, with raised head in high relief and bodies in shallower relief, extending on both sides of the head. Below the tiger's head is a squatting man with arms raised above his shoulders, his head inside the jaw of the tiger. Below both designs is an animal face design with the corner flange of the vessel forming its nose, T-shaped horns and a scrolled tail. The ring foot has three cross-shaped piercings and, on the lower part, animal face designs.
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The Blue Ridge consists primarily of Precambrian metamorphic rocks, and the landscape has relatively high relief. The Piedmont region consists of Paleozoic metamorphic and igneous rocks, and the landscape has relatively low relief. The Piedmont is the second largest region of Georgia, and it has 3 water systems: the Chattahoochee River, West Point Lake, and Lake Sidney Lanier. The rocks of the Piedmont are made up of Precambrian and Paleozoic metamorphic and igneous rocks and the soils are of a finer texture than those found on the coastal plain.
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In Byzantine times, the town was also referred to as Λευκωσία (Lefkosia) or as Καλληνίκησις (Kallenikesis). In the 4th century AD, the town became the seat of bishopric, with bishop Saint Tryphillius (Trifillios), a student of Saint Spyridon. Archaeological evidence indicates that the town regained much of its earlier significance in the early Christian period, and the presence of two or three basilicas with opus sectile decorations, along with marbles decorated with high relief indicate the presence of a relatively prosperous and sophisticated Christian society.Demetrios and Pallides, p. 59.
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Dental Records also show that the L. lufengensis has molars with thick enamel, peripheralized cusp apices with expansive basin and a dense, complex pattern of occlusal crenulations. The pattern of compactness of the small transverse ridges in the enamel of permanent teeth of L. lufengensis are very similar to that of modern humans. The L. lufengensis upper central incisors are high- crowned and labiolingually thick in relation to mesiodistal length, with a distinct, high relief median lingual pillar. In contrast the lower incisors are high crowned and relatively narrow mesiodistal and moderately procumbent.
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Though some are more modern, most of the Chandravati remains belong to the eleventh and twelfth centuries, the best period of Abu architecture (1032-1247). Sahasamala Devada shifted his capital to Sirohi around 1450 AD, and from then on Chandravati lost its glory. In 1824 Sir Charles Colville and his party, the first European visitors to Chandravati, found twenty marble edifices of different sizes. One Brahmanic temple was adorned with rich, very well executed sculptured figures and ornaments in high relief, many of the figures almost quite detached.
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Seigneurial chairs at a table with tin cutlery, pottery, medieval glass and earthenware in majolica, c. 1465 The chair of Maximian in the cathedral of Ravenna is believed to date from the middle of the 6th century. It is of marble, round, with a high back, and is carved in high relief with figures of saints and scenes from the Gospels—the Annunciation, the Adoration of the Magi, the flight into Egypt and the baptism of Christ. The smaller spaces are filled with carvings of animals, birds, flowers and foliated ornament.
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Hellenistic architectural sculpture (323–31 BC) was to become more flamboyant, both in the rendering of expression and motion, which is often emphasised by flowing draperies, the Nike Samothrace which decorated a monument in the shape of a ship being a well- known example. The Pergamon Altar (c. 180–160 BC) has a frieze (120 metres long by 2.3 metres high) of figures in very high relief. The frieze represents the battle for supremacy of Gods and Titans, and employs many dramatic devices: frenzy, pathos and triumph, to convey the sense of conflict.
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There are a few inscribed stones on the exterior and a high relief cross on the west façade. Apart from the text on the north façade, which enables the church to be dated to the 5th–6th century, there are four more asomtavruli inscriptions—one above the south door and the rest on the east façade—made by the 10th-century re- builders of the church and mentioning several persons, such as the bishop Tevdore and the deacon Abiathar. The east façade also bears several other inscriptions left by pilgrims.
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Plaques, 2014 The sandstone monument is located near the front entrance gate of the Sherwood Anglican Cemetery, facing east. It stands high, and consists of a pedestal on a stepped sandstone base, rising to an obelisk draped by a tasselled shroud. Crossed rifles are carved in relief on the front face of the obelisk, which features a small cornice midway. The pedestal has two inscribed, leaded marble plates, and is ornamented with a trooper's hat and crossed swords in high relief at the base, and a rose and leaf design around the top.
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The glass cupola that crowns the central hall was designed and manufactured in Belgium and brought to Chile in 1907. The approximate weight of the armour of the museum is 115,000 kg, of the glass of the cupola, 2,400 kg. Architectonically, the floorplan of the museum is one of a central axis marked by the entrance and a grand hall with a staircase to the second floor. In the grand hall, above a balcony from the second floor, there is a carving in high relief which depicts two angels supporting a shield.
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Soil permeability (infiltration difficulty) and underlying rock type affect the runoff in a watershed; impermeable ground or exposed bedrock will lead to an increase in surface water runoff and therefore to more frequent streams. Rugged regions or those with high relief will also have a higher drainage density than other drainage basins if the other characteristics of the basin are the same. Drainage density can affect the shape of a river's hydrograph during a rain storm. Rivers that have a high drainage density will often have a more 'flashy' hydrograph with a steep falling limb.
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The mountain-building and rifting events left areas of high relief above the low basin of the Midcontinent rift. Over the next 1,100 million years, the uplands were worn down and the rift filled with sediments, forming rock ranging in thickness from several hundred meters near Lake Superior to thousands of meters further south.Ojakangas and Matsch, Minnesota’s Geology, pp. 57–59. While the crustal tectonic plates continued their slow drift over the surface of the planet, meeting and separating in the successive collision and rifting of continents, the North American craton remained stable.
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Representing his output as a sculptor-goldsmith is a cache of his sculptures in silver that are preserved in the Museo dell'Opera del Duomo, Florence. They include a high relief combining two New Testament episodes, The Announcement to Zachariah and the Visitation, which were Cennini's contribution to the silver altar of S. Giovanni, (formerly in the Baptistery), a project that was worked on by several generations of sculptors; the silver crosses for it are also by Cennini, and the corpus on the crucifix is attributed to him as well.Illustrations.
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Her sculpture of The Faithfull Shepherdess earned Durant a fee of £500. Through de Triqueti, Durant was introduced to members of the British Royal Family and received several commissions from Queen Victoria and, for a time, taught model making to Princess Louise. Durant was commissioned to produce high-relief profiles on polychrome marble roundels of Victoria, Prince Albert and their children for the Albert Chapel in Windsor Castle. Reduced size copies were also cast in metal as official gifts, a set of which are in the collection of the National Portrait Gallery in London.
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The frieze is named after Mount Parnassus, the favorite resting place in Ancient Greek mythology for the muses. It contains 169 life-size full-length sculptures, a mixture of low- relief and high-relief, of individual composers, architects, poets, painters, and sculptors from history. The depictions of earlier figures necessarily, were imaginary, although many of the figures were based on materials contained in a collection of artworks and drawings gathered for the purpose of ensuring authentic depictions, where this was possible. The total length of the frieze is approximately 64 metres (210 feet).
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The Schaffausen onyx The Schaffhausen onyx is an ancient cameo, one of the most important Augustan-era hardstone carvings and now one of the highlights on display in the in Schaffhausen, Switzerland. Kulturhistorisches Museum Magdeburg, page 287. In the 13th century, the cameo was given an ornate gold and silver setting as well as a medallion on the reverse. The oval, engraved high relief depicts a goddess, either Pax Augusta or perhaps Felicitas, standing barefoot and leaning against a plinth with a cornucopia in her left arm and a caduceus in her right.
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Little is known as to the parish's founding, although its toponymic name may refer to the existence of megalithic funerary monuments located within its territory. Legend suggests that these funerary structures existed on the site that the current church, dedicated to the Divino Senhor dos Passos, is erected. Its geographic isolation, due to its high relief, morphological obstacles and extreme climate was always a factor that prevented large human settlements. Regardless, the territory came under Roman occupation, which imposed a modernizing influence on to the Celto-iberian tribes that forged in the region.
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The Hohe Tauern window is a geological structure in the Austrian Central Eastern Alps. It is a window (in German fenster) in the Austroalpine nappes where high-grade metamorphic rocks of the underlying Penninic nappes crop out. The structure is caused by a large dome-like antiform in the nappe stacks of the Alps. Detersion of the Schlatenkees glacier on visible parts of the Hohe Tauern window The relatively hard rocks of the Hohe Tauern window are more resistant to erosion, so the window has a high relief.
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Leo Friedlander's Covered Wagon (1934) is a high relief carving depicting a pioneer family in front of a covered wagon, located outside the Oregon State Capitol's main entrance. The figure group includes a father, mother and young boy, plus a horse. The father faces westward with his proper right hand shielding his eyes from the sun, while the mother is shown kneeling and facing forward. The white marble sculpture, carved from a block made of six smaller pieces, measures approximately x x and rests on a granite base that measures approximately x x .
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On the central shaft bearing the crucifixion cross there is a relief carving of Saint Michael slaying the dragon and at the top of the shaft is an arrangement including depictions of three marmousets (small grotesque carvings) who support statues of the Virgin Mary (on the right) and John the Evangelist (on the left). Both these statues are in ronde bosse. The figure of Jesus is carved from granite and is in high relief whereas the good and bad robbers on the two side gibbets, their bodies contorted, were carved from kersanton stone.
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Having not built a band rotunda to date, it appears that the community may have used the opportunity of erecting the memorial to overcome this deficiency in the town's furnishings. The Avoca memorial, which was initially conceived as a band rotunda, is an irregular octagon with eight piers carrying a roof obscured by a parapet. A frieze above the columns contains the names of the main areas where volunteers from Avoca fought: Gallipoli, France, Palestine and Belgium. Low walls on four sides each have a soldier's helmet and pack sculptured in high relief.
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Map of the Broken Group Islands The Broken Group Islands unit is a area in the Barkley Sound with over one hundred small islands. The area is predominantly marine with high-relief rock reefs and kelp beds anchored by a rocky substrate. The island beaches vary from shallow sand terrain to exposed weathered rock. The south side of the outer islands, such as Wouwer, Howell, Cree and Benson Islands, are subject to strong winds and swells, as are the Crossing Imperial Eagle and Loudon Channels between the group and Vancouver Island.
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Morris kept working right up until his death, just before his 87th birthday. He died after falling down a flight of stairs in the clubhouse of the New Golf Club in St Andrews. He is buried against the eastern wall of the churchyard of St Andrew's Cathedral. The grave is simple but stands beneath the highly notable monument to his son, Young Tom Morris, which carries a bronze statue of the golfer in high relief against a white background, and is visible across the breadth of the churchyard.
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Rugoconites is a genus of Ediacaran biota found as fossils in the form of a circular to oval impression preserved in high relief, six or more centimeters in diameter. The fossils are surrounded by frills that have been interpreted (Wade 1972) as sets of tentacles. The bifurcating radial ribs, spreading from a central dome, serve to distinguish this genus from Palaeophragmodictya, and may represent the channels of the gastrovascular system (Fedonkin & Cope 1985). Fossils of Rugoconites have been interpreted as early sponges (Gehling 1996) although this is countered by Sepkoski et al.
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The region is characterized by flat, largely-featureless terrain with the exception of the Pecos River valley and the abrupt breaks along the Mescalero Ridge and northern caprock escarpments of the Llano Estacado. The region typically lacks the high relief of central and northern New Mexico, such as that in the Sangre de Cristo and Sandia mountain ranges. The climate is semi-arid with hot summers and is characterized by significant wind and dust storms in the springtime. Like much of the Llano Estacado region, Eastern New Mexico is largely rural and agricultural, and resembles West Texas in geography, economy, and demographics.
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The most prized work is a large pot with the god's face in high relief that still preserves much of the original blue paint. Room 6 is dedicated to the flora and fauna of Mesoamerica at this time, as most contained divine aspects for the Aztecs. Also many of the offerings found at the Templo Mayor were or were made from various plants and animals. Related to Room 6, Room 7 contains exhibits of the agricultural technology of the time, especially in the growing of corn and the construction of chinampas, the so-called "floating gardens".
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In order to improve his failing health, he moved to the Italian resorts in 1871 and settled in Paris six years later. Every year Antokolsky would come back to his native town of Vilnius during his summer holidays. Namely here he created his first significant work, high relief "A Jewish Tailor", during his summer holidays of 1864. The work of the young sculptor provoked debate in the Academy in Petersburg. On 28 October 1864, the Council of the Academy decided to award Antokolski with the Small Silver Medal for the "Tailor" by the majority of votes.
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There are beautiful motifs on each side at the second floor level and geometric patterns around the cornices, eaves, and other parts of the walls. Notable is the large cross carved in high relief on the front flanked by the Virgin Mary holding the baby Jesus and another saint. Below and just above the portal to the second floor are the motifs of a bull and lion. Above the larger window on the right façade is a motif of a large bird with a geometric rosette on its chest holding a hooved animal in its talons.
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Although the sculptor had poor experiences with the Mint and its chief engraver, Charles E. Barber, Saint-Gaudens accepted Roosevelt's call. The work was subject to considerable delays, due to Saint-Gaudens's declining health and difficulties because of the high relief of his design. Saint-Gaudens died in 1907, after designing the eagle and double eagle, but before the designs were finalized for production. After several versions of the design for the double eagle proved too difficult to strike, Barber modified Saint-Gaudens's design, lowering the relief so the coin could be struck with only one blow.
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This focal point of the architectural composition is plunged into darkness but bathed in a soft light green (the color of Islam) passing through the windows of the dome. The mihrab has the shape of a horseshoe, in white stone from Keddāl, and is supported by two columns of dark green marble. Inside is a rich sculptural decoration with two separate levels separated by a band of white marble covered with Qur'anic verses in Kufic characters. The lower level has nine vertical grooves ending in shell-shapes at their upper ends, above which are decorations of clover in high relief.
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This small church was erected at the end of the 13th century as a family chapel for the Avogadro family, who owned the nearby Palazzo Avogadro. The church was damaged by a bombing raid during World War II. A frieze of earthenware arches intertwining under the cornice that goes all round the building. On the façade is a stone portal surmounted by a rounded arch; above a modern rectangular window was inserted to replace a round medieval rosette. On the right hand side of the building there is a door with a cross in high relief.
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In 2014, the U.S. Mint issued a proposal to strike an ultra high-relief gold coin and silver medal companion series. On July 22, 2014 the proposal was approved by the Citizens Coinage Advisory Committee (CCAC). The gold coins were approved without oversight from the U.S. Congress under the Mint's existing statutory legal authority, and the silver medals were granted through the authority of the Treasury Secretary. The CCAC's recommendation for the 2017 coin became a subject of controversy as it was the first time that an African-American would be depicted as Lady Liberty on a U.S. Coin.
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Harle, 124 Later large scale sculpture remains almost exclusively religious, and generally rather conservative, often reverting to simple frontal standing poses for deities, though the attendant spirits such as apsaras and yakshi often have sensuously curving poses. Carving is often highly detailed, with an intricate backing behind the main figure in high relief. The celebrated bronzes of the Chola dynasty (c. 850–1250) from south India, many designed to be carried in processions, include the iconic form of Shiva as Nataraja,Harle, 301-310, 325-327 with the massive granite carvings of Mahabalipuram dating from the previous Pallava dynasty.
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He was runner up for the Rome prize in 1887 and received the prize itself in 1889 for his high relief "Le Retour de l'enfant prodigue". He was subsequently accepted at the "Villa Médicis" in Rome and studied sculpture there for 5 years. On his return to France he received some prestigious commissions for public monuments including a monument to the neurologist Dr Duchenne and in 1899 his "monument commémoratif du combat des Aydes au faubourg Bannier" was inaugurated in Orléans. His major break through came with a commission to work on the monument at Melun, another Franco-Prussian war memorial.
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The original building on a rectangular plan is designed in the neoclassical style in the form of a temple with a tall baroque-style clocktower. The town hall has a high basement storey and two principal floors above in sandstone ashlar which is rusticated at basement level. It has a broad flight of steps up to a five-bay portico with a pediment in which there is a high-relief sculpture by William Calder Marshall. All the other architectural sculpture inside and out is by Burstall and Taylor, including the main staircase, the portico and the lions which flank the steps.
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The plan of the principal pedestal is octagonal, with four small, and four large faces; from the small faces project four buttresses. On the main pedestal stands the heroic figure of "Faith" with her right hand pointing toward heaven and her left hand clutching the Bible. Upon the four buttresses also are seated figures emblematical of the principles upon which the Pilgrims founded their Commonwealth; counter-clockwise from the east are Morality, Law, Education, and Liberty. Each was carved from a solid block of granite, posed in the sitting position upon chairs with a high relief on either side of minor characteristics.
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Victoria Hall was designated a National Historic Site in 1995 as a superior and rare example of a commercial building with a decorative, hand-made architectonic sheet metal facade. Victoria Hall's well- designed and well-crafted three-story metal facade, made up of high-relief architectural elements, was, at the time of designation, largely intact. While this building was designated in 1995, a bilingual bronze plaque (which is the standard form of commemoration) has not been yet placed. Discussions about plaques are held between the owners of National Historic Sites and the appropriate Parks Canada Field Unit.
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On the continent some of the finest figure work is to be found in the retables, some of which are in the Victoria and Albert Museum. A Tirolese panel of the 15th century carved in high relief, representing St John seated with his back to the onlooker, is a masterpiece of perspective and foreshortening, and the drapery folds are perfect. The same may be said of a small statue of the Virgin, carved in lime by a Swiss hand, and some work of the great Tilman Riemenschneider of Wurzburg (1460–1531) shows that stone sculptors of medieval times were not ashamed of wood.
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By the 1960s, Ralph Menconi had achieved a national reputation as a master of high relief portraits. He was much in demand as a designer of medals and plaques, and his work can be found all across the United States. His wood-carved reliefs of William Green and Samuel Gompers are in the main lobby of AFL-CIO headquarters in Washington, DC, and his portraits of the seven original Mercury astronauts are displayed near launch pad 4 at Cape Kennedy. His work on the door of St. Joseph’s Church in East Camden, NJ depicts the life of the saint.
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Part of the shrine walls seem to have been formed of a series of upright stone slabs with sculptured figures in low relief. Many of these still remain. The most curious thing about the building is that, at the front and rear and both sides, in the centre of the facade the roof ends in a triangular pediment composed of boldly sculptured figures. Inside the building near the shrine, and, on the left hand as one faces it, is a remarkable human head in high relief standing out from the base of the span of an arch.
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Near Madrano was a small castle which was rebuilt in the late 13th century by the Anexia family. Archaeological excavations conducted in 1995 inside the parish church of SS Nazaro Celso (first mentioned with a parish in 1224) discovered a construction history dating back to the 5th or 6th centuries. The present building was given its form in 1879, though the church tower dates from the Roman era. At the train station there is the famous high-relief carving by Vincenzo Vela, devoted to the construction workers who lost their lives digging the Gotthard Rail Tunnel.
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Other grades of boar badges that have survived are in lead, silver,BBC article on silver boar badge, which it appears was originally silver-gilt and gilded copper high relief, the last found at Richard's home of Middleham Castle in Yorkshire, and very likely worn by one of his household when he was Duke of Gloucester.Cherry (2003), 204; no. 69 The British Museum also has a flat lead swan badge with low relief, typical of the cheap metal badges which were similar to the pilgrim badges that were also common in the period.Cherry (2003), 203; no.
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Like many depictions of Etruscan women and their lovers, she is shown as larger and therefore more important or powerful than the man: This has been taken as an indication of the high status of Etruscan women. The same scene is depicted on a mirror handle in high relief openwork; Cephalus is again quite a lot smaller (and younger) than Thesan, who is not winged this time, but whose cloak billows behind her in the breeze. She smiles down at young Kephalos as She lifts him up, and he is nude save for a short cloak and hunting boots.
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Inspired by Parks Commissioner Robert Moses’s desire to provide a World War II monument to each borough, this monument was created. It is a granite and limestone memorial designed by Stuart Constable, Gilmore D. Clarke, and W. Earle Andrews, who worked in concert with the architectural firm of Eggers and Higgins. The two larger-than-life sized high relief figures by sculptor Charles Keck (1875–1951) are located on the south facade, at opposite ends of the building. It honors Brooklynites who served in World War II. The full plan, however, was never fully built because of lack of funding.
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Areni (; formerly Arpa) is a village in the Vayots Dzor Province of Armenia. It is best known for its wine production, although the majority of wine produced locally is from the nearby village of Getap. The church of S. Astvatsatsin is a single-nave two-aisled domed Armenian church completed in the year 1321, and is located atop a plateau overlooking the Arpa River and Areni. It was designed by the architect and sculptor Momik who is best known for his high-relief carvings at the monastery of Noravank (located approximately 6 kilometers southeast from Areni).
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The church façade has receding planes with leaves designed in corbel arches. Over the triple portals of the church is a high-relief frieze depicting the story of the La Naval. The giant bas-relief of Santo Domingo was designed by the Italian sculptor and expatriate Francesco Monti. In the nave of the church there are eight colorful murals by National Artist Carlos Francisco depicting the life and times of Santo Domingo de Guzmán, the Spaniard who founded the Order of Preachers. Francisco’s murals are just below the equally brilliant murals of the Four Evangelists in vivid brown tones by Vicente García Llamas.
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The best-developed glacial valley morphology appears to be restricted to landscapes with low rock uplift rates (less than or equal to 2 mm per year) and high relief, leading to long-turnover times. Where rock uplift rates exceed 2 mm per year, glacial valley morphology has generally been significantly modified in postglacial time. Interplay of glacial erosion and tectonic forcing governs the morphologic impact of glaciations on active orogens, by both influencing their height, and by altering the patterns of erosion during subsequent glacial periods via a link between rock uplift and valley cross-sectional shape.
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Algardi's large, dramatic, high-relief marble panel of Pope Leo and Attila, created from 1646–1653,The Meeting of Leo I and Attila is commonly referred to as Fuga d'Attila or Flight of Attila. It was created for St Peter's Basilica, and it reinvigorated the use of such marble reliefs. There had been large marble reliefs used previously in Roman churches, but for most patrons, sculpted marble altarpieces were far too costly. In this relief, the two principal figures, the stern and courageous pope and the dismayed and frightened Attila, surge forward from the center into three dimensions.
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During the summer of 1902, Savva funded Schechtel's, with participation of both Ivan Fomin and Alexander Galetsky, improvements of the Lianozov owned theatre built in 1890 at Kamergersky Lane 3 in Tverskoy. The renovations incorporated Anna Golubkina's high relief plaster of The Wave above the right entrance of the theatre. In 1903, he funded the electrification of the theatre with its own electrical power station and added another small stage which is isolated from the main building to allow full rehearsals during performances on the main stage. All of this made the MAT the most advanced theatre in Russia.
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Hawksmoor's great hall, with its high, bare walls and flanking vestibules and Corinthian columns, was sub-divided in the 19th century by Sir Thomas Hesketh, who inherited the property from his uncle, to create an upper storey containing three bedrooms. The principal drawing room, the only heavily decorated room in the house, has also seen change in the form of decorative plasterwork carried out by Artari in the mid-18th century for Thomas Fermor, 1st Earl of Pomfret (1698–1753), comprising a high-relief ceiling matched on the walls by huge scrolled panels and picture surrounds, with trophies containing hunting emblems.
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Eventually, pickers realized that all they needed was something to sink their fingerprints into so the pick wouldn't slip, such as a high relief imprinted logo. Celluloid was a material on which this could easily be done.Hoover, p. 30. Tony D'Andrea was one of the first people to use celluloid to produce and sell guitar picks. In 1902 he came upon a sidewalk sale offering some sheets of tortoise shell colored cellulose nitrate plastic and dies, and eventually he would discover that the small pieces of celluloid he punched out with the dies were ideal for picking stringed instruments.
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Others, such as pyrope's high specific gravity, may be of little use when studying a small crystal embedded in a matrix of other silicate minerals. In these cases, mineral association with other mafic and ultramafic minerals may be the best indication that the garnet you are studying is pyrope. In petrographic thin section, the most distinguishing features of pyrope are those shared with the other common garnets: high relief and isotropy. Garnets tend to be less strongly coloured than other silicate minerals in thin section, although pyrope may show a pale pinkish-purple hue in plane-polarized light.
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In 1890, he designed Chartered Accountants Hall for the Institute of Chartered Accountants, which was one of the first Neo-baroque buildings in the City of London, where banks and commercial concerns had previously preferred a more sober classicism. It featured extensive sculptural work by Sir Hamo Thornycroft, Harry Bates and others, consisting of several high-relief panels as well as stand-alone statues. In 1900, again with Joass, he designed Electra House, in the City. Belcher's major commissions outside London include 1894Colchester Town Hall 1898-1902 and the Ashton Memorial, designed and built 1906-1909 in Lancaster.
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The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures in large monumental sculpture have heads in high relief, but their lower legs are in low relief. The slightly projecting figures created in this way work well in reliefs that are seen from below, and reflect that the heads of figures are usually of more interest to both artist and viewer than the legs or feet.
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In his final years he was awarded several honours by the Sienese. In 1435 he was knighted and given the important position of Operaio of the cathedral. In his final years, he was also involved in the decoration of the chapel of the Saint Sebastian (destroyed in 1645) for the cardinal Casini in the cathedral of Siena, but, part of a relief of the cardinal, most work was done by his Siena workshop. This carved high relief, Cardinal Antonio Casini presented to the Virgin by St. Anthony of Egypt, is on display in the Hall of Statues in the Cathedral Museum.
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Contursi has bought and sold a number of examples of the 1792 half disme during his career, ranging from the finest known, graded Mint State 68, to circulated specimens. In fact, he currently has one that grades MS-65 in his collection. Steve Contursi purchased a 1907 gold coin that experts have called the most beautiful in U.S. currency on June 29, 2012. The coin, a Proof Ultra High Relief double eagle, was designed at the turn of the century by sculptor Augustus Saint-Gaudens after a request from President Theodore Roosevelt to bring more beauty into American coin design.
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Titanite's refractive index is 1.885–1.990 to 1.915–2.050 with a strong birefringence of 0.105 to 0.135 (biaxial positive); under the microscope this leads to a distinctive high relief which combined with the common yellow-brown colour and lozenge-shape cross-section makes the mineral easy to identify. Transparent specimens are noted for their strong trichroism, the three colours presented being dependent on body colour. Owing to the quenching effect of iron, sphene exhibits no fluorescence under ultraviolet light. Some titanite has been found to be metamict, in consequence of structural damage due to radioactive decomposition of the often significant thorium content.
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Construction of the White House began with the laying of the cornerstone on October 13, 1792, although there was no formal ceremony. The main residence, as well as foundations of the house, were built largely by enslaved and free African-American laborers, as well as employed Europeans. Much of the other work on the house was performed by immigrants, many not yet with citizenship. The sandstone walls were erected by Scottish immigrants, employed by Hoban, as were the high-relief rose and garland decorations above the north entrance and the "fish scale" pattern beneath the pediments of the window hoods.
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The Mint had difficulty fitting the required inscriptions on the small gold coins. President Roosevelt, in April 1908, convinced Mint Director Frank Leach that it would be a better idea to strike a design similar to that of the eagle, but below the background, to secure a high-relief effect. Such coins were designed by Boston sculptor Bela Lyon Pratt at the request of the President's friend, William Sturgis Bigelow. After some difficulty, the Mint was successful in this work, though Pratt was unhappy at modifications made by the Mint's engravers, headed by longtime Chief Engraver Charles E. Barber.
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Between 1955 and 1960, the structure was recovered, damaged by the war events of the Second World War ; the old chapel, unlike the new church, is not damaged. On 5 July 1964 the ancient statue left the parish of Filignano to return to its sanctuary. Between 1968 and 1969 the holy water font and the altar were built in the large church, and the marble high relief in the old chapel. Also in 1969 a bell was donated and placed in a single lancet window on the roof, to celebrate the first five years since the statue's return.
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The topography, and general relief, of a given area determines the velocity at which surface runoff will flow, ultimately determining the potential erosive power of the runoff. Longer, steeper slopes are more prone to higher rates of erosion during periods of heavy rainfall than shorter, gradually sloping areas. Thus, large mountain ranges, and other areas of high relief, formed through tectonic uplift will have significantly higher rates of erosion. Additionally, tectonics can directly influence erosion rates on a short timescale, as is clear in the case of earthquakes, which can trigger landslides and weaken surrounding rock through seismic disturbances.
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He was a pupil of Pierre Cartellier, and won the Prix de Rome for sculpture in 1821. Lemaire sculpted the high relief of the Last Judgment for the pediment of the Église de la Madeleine, Paris. He is among the major academic sculptors of France who are represented in the sculpture of the Arc de Triomphe, Paris: the others are Jean-Pierre Cortot, François Rude, Antoine Étex, and James Pradier. His bronze monument for the city of Quimper, commemorating the Breton Napoleonic hero and antiquarian, Théophile Corret de la Tour d'Auvergne, was melted down during World War II.
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In 1971, near the stadium was installed a monument of the Dynamo players involved in the game known in the Soviet historiography as the Death Match and the players who perished in the World War II. The sculpture is composed of steel, in which figures of four players are carved using high relief. The architects responsible for the sculpture, V. Bogdanovska and I. Maslenkov, are well known for designing stations of the Kyiv Metro. The sculptor was I. Gorovyi. The monument is located by the service entrance to the stadium, so many fans are unable to see it.
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However, all of the artwork that had adorned the interior prior to the earthquake was lost. The tomb of Saint Gerard was also relocated from the altar in the right aisle to the central aisle. The crystal, silver, and mother of pearl urn containing the relics of the saint lies behind a high-relief marble statue in the chancel of Saint Gerard among the people. Outside of the basilica is a replica of the small room in which Saint Gerard lived during his time in Materdomini, complete with antique furnishings and a replica of the 18th-century terracotta floor.
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The memorial consists of a cenotaph in Portland stone which stands on a stepped plinth and a square base, all standing on a base of three shallow steps. Then north and south faces bear inscriptions in English and Welsh (respectively), while the east and west faces contain the regiment's role of honour from the First and Second World Wars (respectively). Inscriptions relating to the Second World War and the Korean War (1950–1953) were added later. The upper sections of the east and west faces bear carvings of a laurel wreath in high relief, while regimental cap badges are carved on the lower stages of each face.
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The elaborate design of this chamber consists of three peacocks (representing the three seasons of summer, winter, and monsoon) modeled in high relief and faced with coloured glass mosaic, built into successive niches in the wall area or jharoka, These were built during Maharana Sajjan Singh's reign, 200 years after the palace was established. The peacocks have been crafted with 5000 pieces of glass, which shine in green, gold, and blue colours. The apartments in front of the Chowk are depicted with scenes of Hindu god Lord Krishna's legends. At the upper level, there is a projecting balcony, which is flanked by inserts of coloured glass.
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A new bust of the King was introduced to the penny in 1792, and was struck dated that year, 1795, and 1800. The third, laureated bust of the king with an unchanged obverse inscription was on the silver penny in 1817, 1818 and 1820. George III's first reverse, used until 1780, showed the crowned "I" in high relief, with the inscription MAG BRI FR ET HIB REX. A modification was made in 1781, with the relief of the central "I" on the reverse lowered, likely because part of the outline of the I had been visible on the King's head on the other side of the coin.
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The exterior and outer courtyard were quite plain, but the inner courtyard was decorated with breathtaking stucco panels moulded in high relief. To the north, it was fortified in a medieval style, but the southern face had ornate Renaissance decoration, with tall octagonal towers at each end. It was within one of these towers that the premiere of Thomas Tallis' masterwork, Spem in alium, was perhaps performed. The 1959 excavation of Nonsuch by Martin Biddle was a key event in the history of archaeology in the UK. It was one of the first post-medieval sites to be excavated, and attracted over 75,000 visitors during the work.
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When Colleoni bequeathed the money for his statue, he stipulated that it should be erected in the Piazza San Marco, but the Venetian state could not allow this and compromised by having it installed near the Scuola San Marco outside the church of SS Giovanni è Paolo, where it stands today. Leopardi worked between 1503 and 1505 on the chapel of Cardinal Zeno at St. Mark's, which was finished by 1515 by Antonio Lombardo and Tullio Lombardo.Pope- Hennessy p. 355. In 1505 he designed and cast the bronze bases, decorated in high relief, for the three great mast-like flagpoles in the Piazza San Marco.
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The church was rebuilt in an Italian Baroque style with one of the first church domes in the Southern Netherlands, just after the completion of the domed Basilica of Our Lady of Scherpenheuvel, and seems to have been intended to convey a counter-reformation message. In Spain, false vaults made of wood or reed and covered with plaster were used in the seventeenth century. The technique, dating from the medieval period, was applied to chapel domes to give the appearance of stone construction. The dome of Seville's (begun 1659) used stucco to create high-relief scrolling foliage patterns like those of Islamic arabesque ornament.
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During the following decade, Stella introduced relief into his art, which he came to call "maximalist" painting for its sculptural qualities. The shaped canvases took on even less regular forms in the Eccentric Polygon series, and elements of collage were introduced, pieces of canvas being pasted onto plywood, for example. His work also became more three-dimensional to the point where he started producing large, free-standing metal pieces, which, although they are painted upon, might well be considered sculpture. After introducing wood and other materials in the Polish Village series (73), created in high relief, he began to use aluminum as the primary support for his paintings.
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It shows Eve despairing after the Fall. Jardin des Tuileries, Paris In 1880 Rodin was commissioned to produce The Gates of Hell, for which he exhibited Adam at the 1881 Paris Salon. In a sketch for Gates Rodin showed a central silhouette possibly intended as Eve (both the sketch and Gates are now in the Musée Rodin), but in October 1881 he decided to produce Eve as a pair for Adam, with the two sculptures flanking a huge high-relief bas-relief. This would be the first free-standing female sculpture he had produced since the destruction of his Bacchante in an accident between 1864 and 1870.
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Taq-e Bostan: high-relief of Shapur II and Shapur III Initially, Shapur II was not hostile to his Christian subjects, who were led by Shemon Bar Sabbae, the Patriarch of the Church of the East, however, the conversion of Constantine the Great to Christianity caused Shapur to start distrusting his Christian subjects. He started seeing them as agents of a foreign enemy. The wars between the Sasanian and Roman empires turned Shapur's mistrust into hostility. After the death of Constantine, Shapur II, who had been preparing for a war against the Romans for several years, imposed a double tax on his Christian subjects to finance the conflict.
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David Parsons, a young university art student, was recruited by Wisconsin's Coinage Committee to prepare models for the coin. However, as the models were in very high relief, they were rejected by the United States Mint. When the Mint was asked by the committee for a sculptor that would serve as Parsons's replacement, the Mint subsequently referred the issue to the Commission of Fine Arts, which then recruited New York sculptor Benjamin Hawkins. Despite being given only three weeks to complete his models, Hawkins submitted the refined models to the Mint on June 3, 1936, which were approved by Commission of Fine Arts two days later.
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Indeed, the same stone thrown by Zeus took the same name and became the symbol of Apollo, the sacred Oracle and more generally of the region of Delphi. The marble-carved stone which constituted the omphalos in the monument with the tripod and the dancers troubled the excavators, because they could not decide if it was the original or a copy from Hellenistic and Roman times. In the 2nd century A.D., Pausanias traveled to the area of Delphi and has provided us with rare evidence through his work. The stone of the omphalos seems to have been decorated in high relief and had an oval shape.
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Example of the 'realistic' Pitt Street Carvings by Tomaso Sani. Whilst construction of stage two progressed smoothly, the initial unveiling of what would become denigrated as the Pitt Street "caricatures" in 1883 caused great controversy throughout the city. Conceived under the supervision of Barnet and with the works executed by Italian immigrant sculptor Tomaso Sani, the sculptures were designed as "a series of high relief figures...illustrating aspects of contemporary colonial society in a realistic manner to signify the integral place of the General Post Office in colonial life." The controversy over the spandrel figures resulted from their comical references to real-life personalities (including Barnet himself).
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Job on the dunghill; Adam and Eve The carvings are in high relief on three sides of the sarcophagus, allowing for its placement against a wall. The column and many parts of the figures are carved completely in the round. The arrangement of relief scenes in rows in a columnar framework is an introduction from Asia Minor at about this time.Hall, 80 No portrait of the deceased is shown, though he is praised in lavish terms in an inscription; instead, the ten niches are filled with scenes from both the New and Old Testaments, plus one, the Traditio Legis, that has no Scriptural basis.
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Cavalry from the Parthenon Frieze, West II, 2–3, British Museum The Parthenon frieze is the high-relief pentelic marble sculpture created to adorn the upper part of the Parthenon’s naos. It was sculpted between c. 443 and 437 BC,438 was the year of the dedication of the Parthenon and is usually taken as an upper limit for completion of the frieze, see I Jenkins, The Parthenon Frieze and Perikles' cavalry of 1000, p149–150, in Hurwit, 2005, for a discussion of the dating problem. most likely under the direction of Pheidias. Of the 160 meters (524 ft) of the original frieze, 128 meters (420 ft) survives--some 80 percent.
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The corbels supporting the statues are carved with Biblical scenes in high relief. While the niches and corbels are original with the building, the 236 statues themselves are relatively recent, dating from after 1850. Those of the first floor represent personages of importance in the local history of the city; those of the second, patron saints and symbolic figures; those of the third, the Counts of Leuven and Dukes of Brabant from various ages. The main façade has an entrance staircase, and two portals in the center, above which are figures of Saint Peter (left) and Madonna and Child (right), the former in compliment to the patron of the church opposite.
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The Château de Madrid was richly decorated inside and out. Almost all of the exterior walls were covered in majolica and high relief; as a result it was also nicknamed the "Château de Faïence", the latter word describing earthenware decorated with colorful opaque glazes. Its architecture bore clear influences from both Renaissance Italy, in that its building plan resembled the letter H and that its exterior was richly ornamented, and France, because of the towers on each corner of both pavilions and its internal layout, based on the Châteaux of Chenonceau and Chambord. This form that was repeated again at La Muette and Challeau.
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It had the size and some elements of the design of the Greek temple, but was much more vertical, with a square base and a pyramidal roof. There were quantities of large sculpture, of which most of the few surviving pieces are now in the British Museum.Boardman, 126–27 Other local rulers adapted the high-relief temple frieze for very large sarcophagi, starting a tradition which was to exert a great influence on Western art up to 18th-century Neo-Classicism. The late 4th-century Alexander Sarcophagus was in fact made for another Hellenized Eastern ruler, one of a number of important sarcophagi found at Sidon in the modern Lebanon.
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It dates from the middle of the 12th century. The crypt also contains the much larger grave monument of the last archbishop, , which is centrally placed in the crypt. It is of a kind which is not unusual in continental Europe but very unusual in the Nordic countries: a large stone sarcophagus decorated on all sides with sculptures in high relief and with a full-scale depiction of the bishop in full dress on the lid. It was made by Adam van Düren in 1512. The cathedral's largest grave monument is that of bishop Hans Brostorp, who died in 1497 and who during his lifetime inaugurated the University of Copenhagen.
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The viewer, by moving laterally, observes, in 3D, a succession of elements which reveal themselves gradually in a sort of "layered" space. This led to Verpillat's theory concerning the "peripatetic" consumption of his work ("peripatetic", since one is obliged to move in order to see the whole) which he calls "paranoiaque feuilletée" ("strata paranoia") in homage to Dalí. Certain works in High Relief are abstract, some make use of diachronic forms, others are a "repetition" of old classics ("repetition" as used by Søren Kierkegaard, and Alain Robbe-Grillet). In 2009 he was awarded the prize of the city of in Saint-Tropez at the 13th International Salon of Contemporary Art.
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Farthings of 1719–1724 are slightly larger, at 22–23 millimetres, but are of the same weight. The coins were in high relief, and the Royal Mint had trouble transferring the design to the blanks, resulting in myriad flaws. The coin features the right-facing head of King George and the inscription GEORGIVS REX on the obverse, and for the reverse a design identical to that of the Anne farthings: Britannia with the inscription BRITANNIA and the date in the exergue below. Farthings were for sale at the Mint's premises at the Tower of London in packets of five and ten shillings; the Treasury refused to allocate funds for provincial distribution.
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The village took its name from a castle built in the 9th century by Hatton, the Bishop of Verdun at the time. Richier's retable or altarpiece is divided into three distinct sections or niches which are separated by four upright pillars. The central section is constructed to form an arch and is higher than the sections to the right and left. Within each of these three niches, Richier has carved compositions in high relief whilst the pillars, arch and the rest of the retable feature elaborate carvings and embellishments which include the tools of the architect and the sculptor; a ruler and a compass and a hammer and chisel.
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Nicole Brisch (ed.)(Oriental Institute Seminars No. 4), Chicago: The Oriental Institute of the University of Chicago. The emperor's genius is then regarded as the genius loci of the Roman Empire as a whole. Roman examples of these Genii can be found, for example, at the church of St. Giles, Tockenham, Wiltshire where the genius locus is depicted as a relief in the wall of a Norman church built of Roman material. This shows "a youthful and curly-haired Roman Genius worked in high relief, holding a cornucopia in his left hand and a patera in his right", which previously has been "erroneously identified as Asclepius".
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The building culminates nearly 300 feet above the ground in an octagonal lantern (based on the ancient Lantern at the Greek Island of Rhodes) of white high-relief terra cotta with decorative side grilles and handsome limestone eagles. The lantern, the apex of which housed a powerful light, originally burned logs and crude oil to produce a bright flame by night and dark smoke by day. A 30-space garage was part of the original basement design. The interior was the result of an extraordinary collaboration among Brandywine School artist George Harding, architect Howell Lewis Shay, and Philadelphia Museum of Art director Fiske Kimball (who recommended Harding).
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The physiography and distribution of surface material in the Town of Halton Hills are the result of glacial activity which took place in the Late Wisconsinan Substage of the Pleistocene Epoch. This period of time, which lasted from approximately 23,000 to 10,000 years ago, was marked by the repeated advance and melting back of massive, continental ice sheets. The Niagara Escarpment dominates the physiography of the town and greatly influenced the pattern of glaciation in the region. The Escarpment, formed by erosion over millions of years, is a high relief bedrock scarp which trends to the north through the central part of the town.
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One of the earliest accounts of Maya stelae comes from Diego Garcia de Palacio, a Spanish colonial official who described six of the stelae at Copán in a letter to king Philip II of Spain written in 1576. Juan Galindo, governor of Petén, visited Copán in 1834 and noted the sculpted high-relief stelae there. Five years later, American diplomat John Lloyd Stephens and British artist Frederick Catherwood arrived in war-torn Central America and set out for Copán, describing fifteen stelae in Stephens' Incidents of Travel in Central America, Chiapas and Yucatán, published in 1841. Stephens and Catherwood noticed the presence of red pigment on some of the Copán stelae.
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Industrie Céramique. May, 395–402 Ptolemaic and Roman faience tends to be typologically and technologically distinct from the earlier material: it is characterized by the widespread use of moulding and high relief on vessels.Shortland, A.J. and Tite M.S. 2005. A technological study of Ptolemaic – early roman faience from Memphis, Egypt Archaeometry 47/1, 31–46 31–46 A very unusual and finely made group of figures of deities and falcons in the Metropolitan Museum of Art in New York, apparently representing hieroglyphs that are elements from a royal inscription, perhaps from a wooden shrine, is decorated in a form of champlevé (typically a technique for enamel on metal).
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The façade carving by Maene's shop featured the newspaper's logo: a globe with wings, in high relief over the main entrance. Maene modeled a portrait medallion of Pauline Elizabeth Henry (1907), for the Memorial Church of St. Luke the Beloved Physician in Bustleton, Philadelphia.Journal of the Convention of the Protestant Episcopal Church in the Diocese of Pennsylvania, Volume 123 (Philadelphia: John C. Winston Co., 1907), p. 244. Architect Herbert J. Wetherill altered the interior of Grace Episcopal Church, in the Mount Airy section of Philadelphia, 1908-09. Executing Wetherill's designs, Maene carved the white marble altar, reredos and a 23-foot (7 m) tall rood screen.
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Between 1980 and 1984 Siopis developed her 'cake' paintings which sprang from her childhood experiences of watching her mother ice cakes in the family bakery. Siopis’ fascination with the implements used in the shop gave rise to this first series of her career. Instead of the traditional paintbrush techniques, she used unconventional implements such as piping nozzles and other tools used in the decoration of cakes. Concerned with exploring the materiality of paint and its potential as object, Siopis worked with oil paint in a way that strayed from the norm, layering it thickly in high relief, in a technique referred to as ‘impasto’.
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In the late Hadrianic or Antonine era the structure was subjected to heavy restructuring with the raising and widening of the baths and its appendages: this phase witnessed the installation of mosaics in the baths and tablinum. Other changes affected the position of the columns and fountain peristyle, while the small laconicum was adorned with stucco decorations in high relief. The house underwent substantial transformation between the 4th to 7th centuries and in late antiquity a shop occupied the former living rooms. The workshop of a locksmith produced thick layers of ash, coal and waste disposed on almost all floors, blackened by metallurgical activity.
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"Oldest Temple, Mural in the Americas Found in Peru", National Geographic, 12 Nov 2007, accessed 1 Nov 2010 In the 1980s Alva led the discovery of the tomb of the Lord of Sipán and other elite ancient people at the Moche center, a much later culture whose people also were based in Lambayeque. The royal tomb included generations of burials from about 300 AD, or 1700 years ago. Since 2007, the excavations have been directing by Ignacio Alva who has unearthed several phases of human presence in the temple and made important new discoveries such as an ancient frieze in high relief retaining their original colors with typical Cupisnique iconography.
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The Madrassa of Al-Nasir Muhammad is one of only three madrassas in Cairo that housed all four of the Sunni schools of jurisprudence. The madrassa is home to the last stucco mihrab (niche indicating the direction of prayer) in Egypt, unique for its raised, egg-shaped stucco bosses in high relief with punched ornament decorating the hood of the mihrab. The style is highly reminiscent of stucco carving produced in Tabriz, Iran under Mongol Ilkhanid rule and historians have suggested that it was crafted by artists from Mongol Iran or Tabriz. Aside from the mihrab, relatively little decoration has survived overall in the interior of al-Nasir Muhammad's building.
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Tectonic aneurysms are found in areas with localized high relief of relatively young rocks when compared to their surroundings. Actively observed systems that have been studied the most are located in 2 main regions of the Himalaya, the Nanga Parbat–Haramosh Massif and Namche Barwa–Gyala Peri which occur on the Eastern and Western edges respectively. The Indus River is the mechanism responsible for crustal removal in the Nanga Parbat region, and the Tsangpo River is active in the Namche Barwa region. Proposed tectonic aneurysms are located in the Saint Elias region of Alaska, the Kongur Shan and Muztagh Ata in China, and the Lepontine Dome in the Swiss Alps.
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This was the last grand portal built in the Mamluk period; it is framed with to the mosque is decorated with finely carved marble bands and kufic calligraphic script. The marble was carved in a geometric pattern and decorated by polychromatic stones and colored stucco in high relief. The main door is a masterpiece of bronze work taken from the Mosque-Madrassa of Sultan Hassan, while the dome is a typical example of Mamluk stone masonry with a cylindrical base and carved zig-zag pattern. The original facades were particularly tall for the period, due to the extra height added by the Fatimid towers at the base of the minarets.
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The Portal Sculpture at San Jose Y San Miguel De Aguayo is a façade of the mission’s church in San Antonio, Texas; it is covered in saintly figures made by a Mexican-trained sculpture, Pedro Huizar, who carved the figures during 1770–1775. The figures are surrounding an oval window and a portal where the doors of the church are located. The sculptures on the façade and made in high relief and have a spiritual like animation. The façade has a baroque feel and is decorated or embellished with organic sensuous items. Pedro Huizar’s style can be linked to styles in Spain where the catholic baroque churches where happening at the same time.
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The coins were minted at London, and the Canterbury, Durham and York ecclesiastical mints. The Dissolution of the Monasteries in the 1530s and the ratification of the First Act of Supremacy in 1534 resulted in a huge financial bonus for the king, but by 1544 Henry was running short of money, thanks partially to his own extravagant lifestyle and expenditure. Henry's solution was to drastically lower the fineness of the third coinage (1544-47) to only one-third silver and two-thirds copper. This was understandably not popular with the people, and it resulted in Henry acquiring the nickname "Old Coppernose" as the silver rubbed off the high- relief part of the coin design.
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On the Gobrecht dollar, with its high relief, the depiction of Liberty appears like a statue on a plinth; the flatter Seated Liberty decreased relief appears more like an engraving. Art historian Cornelius Vermeule tied the appearance of the obverse to neoclassicism, noting the resemblance of Gobrecht's Liberty to the marble statues of ancient Rome. The neoclassical school was popular in the first half of the 19th century, and not only among official artists; Vermeule noted, "it becomes almost painfully evident that similar sources were consulted both by the engravers of United States coins in Philadelphia and by the cutters of tombstones from Maine to Illinois". The reverse retained the shield upon the eagle's breast.
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Barber wrote of the High Relief pieces to Landis, "Mr. Hart has put the mill into operation and I send you two pieces showing the result; these are not selected as all the coins now made are the same as these two, which gives me alarm as they are so well made that I fear the President may demand the continuance of this particular coin." Barber completed work on his version of the design, with a greatly lowered relief, and the new coin went into production on a large-scale basis. A total of 361,667 of the revised design were produced by the Mint in 1907; the "Low Relief" coins were released into circulation at the end of .
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The Nailloux Altarpiece (French: "Retable de Nailloux") is a retable-type altarpiece made of five alabaster panels carved in high relief. Dedicated to the Passion of Jesus Christ, it is conserved in a chapel of St. Martin Church of Nailloux, in the Haute-Garonne department in southwestern France. The retable is a Nottingham alabaster and was probably carved during the second half of the 15th century in a Midlands workshop. Although it is currently impossible to recognize the potential funder / sponsor at the source of the appearance of this foreign work in Nailloux, the work itself is contemporary of a period of economic development for the region: the golden age of woad culture in Lauragais.
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Sedgwick Gardens was designed by prominent Washington architect Mihran Mesrobian for local developer Max Gorin of the Southern Construction Company in 1931 for $500,000, and in 1932 opened as a rental apartments building. It is currently distinguished as one of the Cleveland Park Historic District apartment complexes in Washington. Its entrance has been designed so that the eye of any visitor is drawn upward toward of a pair of high relief female figures, a pair of bas-relief male figures, and further toward the rose window on the massive square elevator tower in the background. White brick bands within the red brick facade line the main and top floors while shorter white bands lay just below each floors’ windows.
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Warner returned to work on the badges to be worn by the fair's directors at the dedication ceremony in October—the fair itself would not open to the public until May 1893. These badges included a round disk with a portrait of Columbus in high relief based on the Lotto portrait, and when one was displayed it was immediately spoken of as a possible basis for the half dollar. The Company also considered a design with three ships, and another with a single ship and a depiction of the Western Hemisphere, both provided by the Mint. Contemporary accounts also mention a reverse design considered by the Company which depicted a building at the Exposition.
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The high relief of the Daces (marble, 3m high) for which she received the diploma of honor is today in Bucharest. Until 1977, at the request of the Monnaie de Paris (Paris Mint), she made several medals (the medal of the deputies of the National Assembly (France) in 1968 - the portraits of Romain Gary, Anna de Noailles, Giacometti, Jean Effel, among others). In 1952, Bernheim-Jeune Gallery organized a retrospective exhibition of her work, and the Museum of Modern Art of the city of Paris acquired The great torso of Woman. In 1970, for the fortieth anniversary of the death of her master, she created from memory a portrait of Antoine Bourdelle.
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Detail of the central figure, his forehead marked with an X The sarcophagus measures 1.53m in height and is made from Proconnesian marble, a medium characterized by dark gray stripes and a medium to coarse grain.Frances Van Keuren, Donatio Attanasio, John J. Hermann Jr., Norman Herz, and L. Peter Gromet, "Multimethod Analyses of Roman Sarcophagi at the Museo Nazionale Romano, Rome," in Life, Death and Representation: Some New Work on Roman Sarcophagi (De Gruyter, 2011), p. 181. This was imported from Proconnesus and was the most common source of marble imported into Italy during the imperial period. It is decorated in a very high relief with many elements of the composition cut completely free of the background.
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Next to the door that leads into the church at the north end of this gallery, a second door opens onto a beautiful gate at the foot of the tower overlooking St. Paul's Square. This charming porch is remarkable for its deep ornamental arches and its curious decoration, partly ogival. It is dated from the Renaissance. This gate, closed by an iron gate and decorated with a central stone medallion framing a high relief depicting the Conversion of Paul the Apostle placed between two low reliefs and the arabesques of the lower panels frame two small low reliefs, one on the right side representing the Nativity, the other on the left showing the Resurrection of the Savior.
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This sumptuous structure was arranged in four registers with an apex. It was decorated with 14 paintings by the celebrated Basque painter Baltasar de Echave Orio (who is also credited with designing the retablo), alternating with carved wooden statues standing in niches. At the centre of the second register, directly above the later neo-classic ciborium (presumptively installed in the first decades of the 19th century and visible in a 19th century lithograph which shows the arrangement of the retablo), was a carved and painted panel in high relief of the patron saint of the church, Santiago Matamoros, the only part of the retablo that has survived.The retablo is described in Victoria (1990) pp.
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The local physical environment consists of the Pacific Ocean, local coastal mountains, U.S. Highway 101, several beach homes and a hotel located approximately north near the Mussel Shoals exit along Highway 101, the nearby community of La Conchita, and other nearby petroleum production facilities. In 1978, a study was conducted on the impact of the island, "Ecological Effects of an Artificial Island, Rincon Island." The study documented marine ecological conditions. Habitat features associated with the armor rock and concrete tetrapods surrounding the island support a microecosystem, a rich and varied fauna and flora associated with the high-relief solid substrate of the island, which differs substantially from the more depauperate natural bottom habitats in the area.
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The façade is divided into three parts, with a pediment and a two storied projecting porch or protiro embellished with sculpture, which is the work of the twelfth-century sculptor Nicholaus, who also executed and signed the entranceway at the abbey church of San Zeno, also in Verona, and Ferrara Cathedral. The portico is supported on the backs of two griffins, similar to those from the dismantled Porta dei Mesi at Ferrara. The lunette depicts the Virgin holding the Christ child in high relief, centered between two low relief scenes, the Annunciation to the Shepherds (left) and the Adoration of the Magi (right). On the lintel in medallions are the three theological virtues, Faith, Charity and Hope.
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Detail of the West metopes The frieze of the Parthenon's entablature contained 92 metopes, 14 each on the east and west sides, 32 each on the north and south sides. They were carved in high relief, a practice employed until then only in treasuries (buildings used to keep votive gifts to the gods). According to the building records, the metope sculptures date to the years 446–440 BC. The metopes of the east side of the Parthenon, above the main entrance, depict the Gigantomachy (the mythical battle between the Olympian gods and the Giants). The metopes of the west end show the Amazonomachy (the mythical battle of the Athenians against the Amazons).
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Main language areas in Iberia c. 300 BC Approximate area where the Turdetani people lived High-relief showing an Auletris (woman playing an aulos). Ancient Iberian artwork sculpted in limestone at the end of the 3rd or the beginning of the 2nd century BC. It is part of the so-called Sculptures of Osuna, Seville Province, Andalusia, Spain. The Turdetani were an ancient pre-Roman peoples of the Iberian Peninsula (the Roman Hispania), living in the valley of the Guadalquivir (the river that the Turdetani called by two names: Kertis and Rérkēs (Ρέρκης); Romans would call the river by the name Baetis), in what was to become the Roman Province of Hispania Baetica (modern Andalusia, Spain).
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The most decorated area is that around the mihrab (a niche in the qibla wall symbolizing the direction of prayer). This section, which was rebuilt/restored in the late 16th century (Saadian period), likely still preserves the model and layout from the Almohad era and resembles the mihrab of important Almohad mosques like the one at Tin Mal. However, the stucco decoration that covers the wall around the mihrab is very similar to the decoration of mihrabs of Saadian buildings like the Ben Youssef Madrasa and the Bab Doukkala Mosque, and thus likely dates from the Saadian restoration. This decoration features elaborate arabesques in high relief, with pinecones and seashells featured among the decorative repertoire.
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Over and outside these the façade of the great arch projects, with ribs in imitation of wooden rafters under it. On each side the finial is a male figure: that on the left holds a chauri and has wings, and some animal's head above his jaunty turban; the other holds some object in his right hand, and behind each shoulder are two snake-heads with their tongues hanging out. Right and left of these are dagobas in high relief, but roughly formed; and on the right of the arch is a tree with objects hanging in it, but it has never been quite finished, parts being only outlined. Inside of the Chaitya.
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He was frequently criticized for unimaginative designs, but R.W. Julian suggests that he "was capable of superb work when given a free hand." Charles E. Barber, 6th Chief Engraver of the U.S. Mint Barber's best known designs are the Liberty Head coins — Barber dime, Barber quarter, and Barber half dollar, as well as the so-called "V" Liberty Head nickel. Some lesser known pattern coin designs include the trial copper-nickel cent, trial three-cent piece, and the $4 Stella "Flowing Hair" pieces. He was strongly critical of Augustus St. Gaudens' proposed high relief pattern for a new double eagle in 1907 and tried hard to stop them from being produced, citing the impracticality of the design.
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Side view of Lorenzo Ghiberti's cast gilt-bronze Gates of Paradise at the Florence Baptistery in Florence, Italy, combining high-relief main figures with backgrounds mostly in low relief Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised.
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Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief". A face of the high-relief Frieze of Parnassus round the base of the Albert Memorial in London. Most of the heads and many feet are completely undercut, but the torsos are "engaged" with the surface behind Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round".
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Hayes Volcano is an ice-shrouded, glacially scoured eruptive center of Quaternary age composed of pyroclastic deposits, volcanic breccia, and lava domes. Although the edifice of the volcano is largely covered by glacier ice, parts of small lava domes, dome debris, and pyroclastic deposits project through the ice at altitudes of 2,400 to 2,800 meters above sea level. The volcano is nestled within the Tordrillo Mountains, a rugged, glacier-clad mountain range, between the Alaska Range and Cook Inlet, that is composed primarily of older plutonic igneous rocks. Most of the area is in high relief (greater than 1,500 meters) and supports an extensive complex of glacier ice that covers most of the mountainous terrain.
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Detail of the relief, 2006 Leo Friedlander's Lewis and Clark (1934) is a high relief carving depicting Meriwether Lewis and William Clark of the Lewis and Clark Expedition on horseback, being led by Sacajawea, located outside the Oregon State Capitol's main entrance. The white Vermont marble sculpture, carved from a block made of six smaller pieces, measures approximately x x and rests on a granite base that measures approximately x x . On the back is a map illustrating the area covered by Lewis and Clark and depictions of both hunting and meetings with Native Americans. The installation also includes a signed inscription that reads "" on the lower left and "" across the base.
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Most of the jewelry found was of gold, made by casting, stamping, embossing, and engraving in the form of circular sculpture, high relief and bas-relief. The "Golden Man" wears a high-peaked turban decorated with golden plates depicting horses, snow leopards, birds, and trees with spreading crowns, and a necklace in the form of a golden hoop with a tiger head at each extremity. In the lobe of the left ear is a gold earring with a turquoise ornament. A sword in a sheath covered with red leather hangs from the belt to the right, and to the left is an iron dagger in a sheath with gold overlays depicting a galloping moose and a horse.
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Above the lintel, the masonry courses form a corbelled arch, leaving an opening that lightens the weight carried by the lintel. This relieving triangle is a great limestone slab on which two confronted lionesses or lions carved in high relief stand on either sides of a central pillar. The heads of the animals were fashioned separately and are missing, but their necks are present.. The pillar, specifically, is a Minoan-type column that is placed on top of an altar-like platform upon which the lionesses rest their front feet. It has been suggested that lions were not present in Greece at the time showing some sort of hierarchy in power with them fashioned on this monumental gate.
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The ceiling in the longitudinal hall is decorated with the stucco and painted decorations with the motifs taken from the renaissance decorative program, the ceiling above the ceremonial bifurcated staircase is decorated with the medallions and ornaments of the floral origin. The central decorative motif of the entrance part is the monumental composition at the entrance door of the ceremonial hall. This entrance was decorated with double columns in articulated roughly hewn stone with the tympanum and the sculptural composition in the high relief, and which represents Samson and a lion. The composition Samson and a lion was done by Vladimir Zagorodnjuk, the author of decorative sculptures on many other buildings in Belgrade.
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Neoilluminist (or New Enlightenment) Art was conceived in the year 1987 and runs to present date (published in the newspaper "La Repubblica" on 23 April 1987). Neoilluminist Art (New Enlightenment Art) was inspired by the Essays on the aesthetic philosophy of Denis Diderot. One of the enunciative propositions of Noetico is that Neoilluminism arises from a need to raise contemporary Mankind out of spiritual, moral, cultural and social decandence. This Art Movement includes an invention of the new Neoilluminist (or New Enlightenment) Alphabet in which every letter has a symbol of a woman and a man, and the use of unique painting technique which develops in bas-relief (low-relief) and high-relief.
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The first reverse, used until 1780, showed the crowned "I" in high relief, with the inscription MAG BRI FR ET HIB REX date across the crown; the second reverse, used until 1786, was similar but in lower relief, the "I" being much flatter; the third reverse, used in 1792 only, was completely redesigned with a much smaller "I" under a smaller crown with the inscription running around the crown, with the same legend as before. The fourth reverse, used in 1795 and 1800 was similar to the first but with a redesigned crown. The fifth reverse, used from 1817 onwards, showed the crowned "I" with the inscription BRITANNIARUM REX FID DEF date.
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This work as well as the first sculpture was positively evaluated by Vasily Stasov who saw "the features of the simple truth, the things that, previously, nobody dared to think about in sculpture" in the works of the artist. In 1865, the high relief "Stingy Man" was awarded the Grand Silver Medal of the Academy. In later years the sculptor continued working on Jewish themes, which developed into complex, yet unfinished compositions: "Talmud Dispute" (1866–1868) and "Inquisition Attacks the Jews" (1868–1869). The "Inquisition" was M. Antokolski's last work on the Jewish topic in his student years. According to the review of the Art Academy, Antokolsky was granted personal name of honorary citizen "for wonderful knowledge of art" on 7 April 1870.
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On , 1907, the President wrote Saint-Gaudens, "It has proved hitherto impossible to strike them by one blow, which is necessary under the conditions of making coins of the present day." On , 1907, Saint-Gaudens replied, "I am grieved that the striking of the die did not bring better results. Evidently it is no trifling matter to make Greek art conform with modern numismatics." Saint-Gaudens's 1902 statue of Victory, part of the Sherman monument in New York City, was used for the design of Liberty on the obverse of the double eagle A second set of dies was produced with the relief reduced somewhat, but still proved too high relief for practical coining, requiring three strokes of the press to fully bring out the design.
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Chizhov created the high relief figures "Heroes", "Enlightenment", and "Statesmen" for this monument. Chizhov moved to St. Petersburg, where in 1863 he enrolled in the Imperial Academy of Arts, where he studied under Peter Klodt and Nikolai Pimenov. Chizhov soon won two silver medals for sculpting from life and a small gold medal in 1865 for "Kievan riding with a bridle in his hands through the camp of the Pechenegs", a bronze copy of which exists at the Russian Museum in Petersburg. Chizhov's studies did not prevent him from performing a variety of private commissions and work for Mikeshin, including drawings for a model of the St. Petersburg monument to Catherine the Great and the fashioning of parts of this colossal monument to the empress.
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Location on the Seine The bridge has two levels: one for motor vehicles and pedestrians, the other being a viaduct (Viaduc de Passy) built above the first one, through which passes Line 6 of the Paris Métro. The railway viaduct is supported by metal colonnades, except where it passes over the Île aux Cygnes, where it rests on a masonry arch. Many commemorative plates decorate the viaduct bridge, including several dedicated to soldiers fallen in Belgium during the Second World War. In addition, the central arch of the viaduct, at the level of the island, is decorated with four monumental stone statues in high-relief: figures of Science and Labour by Jules-Felix Coutan, Electricity and Commerce by Jean Antoine Injalbert.
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The Pala Empire ruled a large area in north and east India between the 8th and 12th centuries CE, mostly later inherited by the Sena Empire. During this time, the style of sculpture changed from "Post- Gupta" to a distinctive style that was widely influential in other areas and later centuries. Deity figures became more rigid in posture, very often standing with straight legs close together, and figures were often heavily loaded with jewellery; they very often have multiple arms, a convention allowing them to hold many attributes and display mudras. The typical form for temple images is a slab with a main figure, rather over half life-size, in very high relief, surrounded by smaller attendant figures, who might have freer tribhanga poses.
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The vertical separation is highlighted by two dominant semi-circular porticos above which there are low-relief contoured bay windows and hanging eaves. In the center of the facade on the third floor, there is a long balcony and there are two other shorter ones on the sides of the wings on the fourth floor. All the balconies are enclosed and set on massive high-relief corbels. The magnificence of the facade is enhanced by the placement of a wide variety of types of windows: architraves, semi-circular single pane, dual pane and triple pane windows, along with a wealth of two-dimensional and unusual ornamentation along the window frames, on the capitals of the pilasters, and on the fascia and cordons of the roof.
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Other Polynesian god figures, including this one from Rarotonga, have the same large heads, rounded bellies, and smaller human figures on the torso that are distinctive characteristics of A'a. The works acquired by the British Museum from the London Missionary Society make up some of the best- known works of Polynesian art, including A'a. A'a itself, though part of a corpus of Polynesian god-figures with features such as the smaller figures on the body, large head, and rounded stomach, is according to Julie Adams "recognized by experts as a unique figure in Polynesian art". A god figure from Rarotonga, also in the collection of the British Museum, has three male humanoid figures carved in high relief on its torso, similar to those which cover A'a.
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The many landforms found in the municipality have been the natural production of the different geographical pressures of the different structural land forms such as alluvial lowland, alluvial fans, sedimentary plateau or masses of residual slopes and thick sedimentary landscapes. Most of its territorial areas are best characterized by broad alluvial plans described as level to nearly level, and moderately well-drained terraces. The level to undulating plains are the product of paludal environment or deltaic plains which are usually being flooded during slight and heavy downpours. On the other hand, Barangay Adiangao is characterized by Shale/Sandstone Hills (SSH) which is described to be undulating to rolling, slightly to moderately dissected, and moistly top-rounded hills, both are low and high relief.
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The sole remaining example is a pendant white boar on a Yorkist livery collar carved in the alabaster effigy of Sir Ralph Fitzherbert, who died in Richard's reign in 1483. A number of metal badges, for pinning to the chest or a hat, have survived in lead, silver, and gilded copper high relief, the last found at Richard's home of Middleham Castle in Yorkshire, and very likely worn by one of his household when he was Duke of Gloucester.Cherry (2003), 204; no. 69 A new example in silver-gilt was found in 2009 on or near the battlefield of the Battle of Bosworth Field, where Richard was killed in 1485, which with other finds is leading to historians rethinking the precise location of the battle.
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It shows the perfect conjunction between architecture, sculpture and painting which is typical of Renaissance-Plateresque art. Architecturally takes the form of a triumphal arch of three bodies, traced by Alonso de Covarrubias in 1518 and realized by Francisco de Baeza, with a vault of semicircular arch with coffers and on both sides niches with images of the evangelists and the fathers of the Church, as well as scenes of the virgin Mary and saints, all between columns on pedestals. In the middle part of the great reredos there is a silver urn with the relics of the saint, protected by an iron gate of Juan Francés. In the attic there is a high relief of the Virgin Mary surrounded by angels.
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Michael Wolgemut (formerly spelt Wohlgemuth; 143430 November 1519) was a German painter and printmaker, who ran a workshop in Nuremberg. He is best known as having taught the young Albrecht Dürer. The importance of Wolgemut as an artist rests not only on his own individual works, but also on the fact that he was the head of a large workshop, in which many different branches of the fine arts were carried on by a great number of pupil-assistants, including Albrecht Dürer, who completed an apprenticeship with him between 1486 and 1489. In his atelier large altar-pieces and other sacred paintings were executed, and also elaborate carved painted wood retables, consisting of crowded subjects in high relief, richly decorated with gold and colour.
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Dance belts are also produced in white, which can be dyed to any color. Some dances are choreographed and performed where the males wear only a dance belt alone. Lighter coloured tights, such as white, light grey, creme and beige can be more revealing of and make more conspicuous the delta shaped detail of the male dancer's genital area since the shape and contour of his penis tend to stand out more under bright lights for stage performance, accentuated as they are by shadowy depression and high relief. Darker tights on the other hand tend to be less revealing, especially when they have a flat, matte finish to them rather than a shiny one that catches and reflects the intense, bright stage lights more.
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Their regimental uniform is of French influence and was worn by soldiers who fought with Antonio José de Sucre in the Latin American wars of independence and specifically in the Battle of Tarqui. It consists of a shako made of blue cloth with tricolor plume and the state emblem towards the front,a blue jacket with neck and rigid sleeves lined with red cloth, epaulettes, white denim pants, and black boots. The regiment also wears white suede gloves during its public duties. Officers carry a steel sword with a lion's head hilt and gilded gilt on the fire and carved in high relief, while the regiment's NCOs carry a lance with a tricolor pennant when they march on horseback and on foot.
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A Greek glass amphora, 2nd half of the 2nd century BC, from Olbia, Roman-era Sardinia, now in the Altes Museum The Derveni Krater, from near Thessaloniki, is a large bronze volute krater from about 320 BC, weighing 40 kilograms, and finely decorated with a 32-centimetre-tall frieze of figures in relief representing Dionysus surrounded by Ariadne and her procession of satyrs and maenads. The neck is decorated with ornamental motifs while four satyrs in high relief are casually seated on the shoulders of the vase. The evolution is similar for the art of jewelry. The jewelers of the time excelled at handling details and filigrees: thus, the funeral wreaths present very realistic leaves of trees or stalks of wheat.
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Right at the entrance there is torana, a very intricately carved garland which is sculpted from a single stone; such entrances are part of a Hindu wedding procession. The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and other uniform designs which has created a pleasant picture that is unique to this temple, among all others in the complex.
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In addition to this, the area of the transept beside the presbytery there are four other steps, emphasizing the altar area within the church. In the each of the eastern and western walls of the transept, are niches that contain pictures and several windows to provide light. The baptismal font is found in the western section of the transept, and in front of this in the north wall is what seems to have once been an entry, but has been converted into a larger niche that houses a high relief of the baptism of Jesus, and above this is a Chi Rho, a monogram of the name of Christ. The main areas of the church are the presbytery and the chapel of the reserve altar.
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The Juchimán de Plata Award is a prize granted by Juchimanes de Plata, a Mexican civil association, to those personalities distinguished by their achievements in arts and literature, in science and technology, in communication sciences, and in human rights and peace. Four Juchimán de Plata Awards are granted on an annually basis, at a state, national and international level. The Juchimán de Plata Award includes a 15-cm height silver replica of the huge Olmec sculpture of the same name (which was found in 1884 in the municipality of Huimanguillo, state of Tabasco), set on a wood base and including a golden plate and the high-relief foundation's logo. The reasons why the award is granted in each case are described therein.
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The triangular tympanum by Borromini that adorns the beautiful Baroque facade, alternating between the Corinthian and Ionian Orders of columns, protects the exquisite high-relief by Carlo Simonetta, built in 1670 and depicting the Assumption of Mary (dedicated as Mariæ Assumptæ). Underneath the tympanum, the Order is supported by a large granite pedestal, with the inscription, ascendit quasi aurora consurgens.ascendit quasi aurora consurgens rise like the morning sunrise On the sides, the niches are occupied by two sculptures of figures, completed by Giacomo Moraglia (1791-1860). Barely visible from the street is a small dome that covers the church, perhaps made by Girolamo Quadrio and that hosts, in the carved-out niches, four statues of angels by Giuseppe Vismara and Simonetta, sculpted in 1662.
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In a composition showing the "Throne of Mercy" type of the Trinity, a group of tiny figures are seen in a cloth or "napkin" held or supported between the hands of God the Father. These represent the souls of the saved. There are five examples of free-standing statues known, in the Burrell Collection Museum in Glasgow,Ramsay, op cit. Illustrated in Ramsay/Alexander & Binski op cit the Museum of Fine Arts, BostonRamsay op cit; Boston image and elsewhere, and seven high relief panels. The Burrel statue is 89 cm tall, and the Boston one 95 cm. The panels are presumably the usual size for such works, typically 40 x 25 cm, perhaps larger if they are the central panel in an altarpiece group.
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Aya Biosphere Reserve consists of a plateau containing high relief mountains (over 600m), low relief Mountains (200–400 m) and Shirasu (deposits of volcanic ash and sand) layers, as well as a flat alluvial plain around the confluence of the Ayakita and Ayaminami Rivers. It is located near the centre of Miyazaki Prefecture in Southeastern Kyushu, where the Kyushu Central Mountains and the Miyazaki Plain meet. Lucidophyllous forests within the Biosphere Reserve consist of many species endemic to Japan. Lucidophyllous forests in East Asia are unique as they have lain on the border of two floras (one is formed by mainly tropical evergreen trees, and the other by temperate deciduous trees) since the Cretaceous Period when angiosperms were first born (143 - 65 million years ago).
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Tarquínia Winged-Horses, exhibited at National Museum of Tarquinia Detail from Heads of the Horses Etruscan Art. Head of one of the horses The high-relief of the "Tarquinia Winged Horses" is a fragment of the colonnade that supported the pediment of the most important temple of the ancient Etruscan city of Tarquínia, at the Ara della Regina, better known as the Major Temple of Tarquínia. Nowadays situated at the Province of Viterbo (region of Lazio, Italy) Its realization dates back to the middle of the 4th century BC, although some researchers argued that it could be more recent, because only after the 3rd century BC Etruscan builders gave the temples a particular change in the decoration of the friezes and pediments.
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The Upper Shiawassee River is bordered by alternating east-west trending moraines, glacial till, and outwash plains. The moraines and outwash plains contain sand and gravel deposits that are more permeable than the fine- grained glacial till and lake clays found in the downstream. The upper half of the watershed has variable (high) relief and is generally well-drained with numerous shallow aquifers that contribute groundwater flow to the headwaters of the Shiawassee River. The Lower Shiawassee is bordered by a low-relief till plain overlain by relatively impermeable and are poorly-drained fine-grained glacial lake clays and relict beach deposits that were deposited over a several thousand-year period when glacial Lake Saginaw covered much of the area, after the most recent retreat of the ice at the end of the Wisconsin glaciation.
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The concept of the hotel complex exterior and interior decoration was developed with participation of Zurab Tsereteli, a famous muralist, painter and sculptor. The essential idea underlying the artistic concept is the poetic world of the Crimean legends. The main building of the hotel reminds one of an ocean liner crowned with a light boat of the ancient seamen. The copper storiated high relief composition above the grand entrance to the hotel is called “the Legends of Crimea” and features the silhouette of the Mount Ayu- Dag, the founders of the city of Yalta, the orchards and villages of the first inhabitants of the Crimean South Coast, the heroes of the Crimean legend about the Adalars (the winged boys), and Maria from the legend of the Bakhchisaray Palace captive.
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Monnot's masterwork is the vast complex of marble sculptures and bas-reliefs set against richly colored marble revetments of the Marmorbad ("Marble Bath") in the Orangerie at the Karlsaue in Kassel. Monnot went to Kassel in 1714, and began by executing marble portrait busts of Karl, Landgrave of Hesse-Kassel, and the Landgravine. In January 1715 the first contracts were signed concerning the new Appartement du Bain with its statuary, ten sculptures that were already completed in Rome, some of them as early as 1692, and commissioned four white marble high relief panels for the outerwalls of the pavilion, eight further relief panels for the vaulting and the portrait medallion of Karl himself. Monnot established a studio with assistants in Kassel and to help him produce the works.
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It ignited a debate in the press concerning the ability of the available technology to put out fires in high-rise buildings. At the time of the hotel's construction, the Vanderbilt mansion, diagonally across Fifth Avenue, was being demolished. High relief carved limestone panels by Karl Bitter from the Vanderbilt's porte-cochereJohnson, Richard (December 2011) "The Sherry-Netherland, New York City" {image and text) Flickr and ornamental frieze roundels from that mansion were installed in the Sherry's classicizing groin-vaulted lobby, where massive marble-veneered pilasters with gilded Italian Renaissance capitals articulate walls paneled in small rectangles, Jacobean-fashion.Architectural details main lobby (The Wolfsonian–Florida International University, Miami Beach); the small lobby is often compared in style to the Vatican Library, with which it only shares cross-vaulted ceilings and marble revetments.
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Barber used these models to prepare a die, along with a bronze casting which was produced privately, and the Mint struck experimental pieces on July 19. These "high relief" pieces required multiple strikes of the press to fully bring up the design. Saint- Gaudens wrote to the Mint in mid-July, "I am waiting to know about this in order to proceed with the other reliefs", and he was sent one of the new pieces, along with a Liberty Head eagle for comparison. On July 19, Roberts sent a similar pair of coins to Secretary of the Treasury George Cortelyou, noting that Saint-Gaudens used a smooth finish to the design rather than the sharp die work characteristic of the Liberty gold pieces, and he suggested that this might encourage counterfeiting.
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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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By general consent critics have assigned to him a large altar- piece, with scenes from the gospels and figures of St Florian and St Floriana, and a Crucifixion, the principal figure of which is carved in high relief on the surface of a large panel in the church of Dinkelsbuhl. A Crucifixion, with eight scenes from the New Testament, is shown as his in the cathedral, a Christ in Judgment, with Mary and John, and the Resurrection of Souls in the town-hall of Nördlingen. A small Epiphany, once in the convent of the Minorites of Ulm, is in the Holzschuher collection at Augsburg, a Madonna and Circumcision in the National Museum at Munich. Herlen's epitaph, preserved by Rathgeber, states that he died on October 12, 1491, and was buried at Nördlingen.
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Figure of a dancer carved in high relief found at Batu Lintang, south of Kedah Nandi found in the vicinity of site 4 near the Bujang Valley One of the six stone boxes, which were found buried beneath Candi Bukit Batu Pahat In Kedah there are remains showing Buddhist and Hindu influences which has been known for about a century now from the discoveries reported by Col. Low and has recently been subjected to a fairly exhaustive investigation by Dr. Quaritch Wales. Dr. Wales investigated no fewer than thirty sites round about Kedah. An inscribed stone bar, rectangular in shape, bears the ye-dharmma formula in Pallava script of the 7th century, thus proclaiming the Buddhist character of the shrine near the find-spot (site I) of which only the basement survives.
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It's the stage of great military parades and other official acts. The Monument to the Heroes is formed by four parallelepipeds: two vertical ones made of travertine marble and two horizontal ones in black marble, each with 30 meters/98 ft in length and a total weight of 300 tons/672.000 lb. On the horizontal walls there are bronze statues representing the heroes of independence: Simón Bolívar, Antonio José de Sucre, Rafael Urdaneta, Santiago Mariño, Francisco de Miranda, José Antonio Páez, Manuel Piar, José Félix Ribas, Luis Brión, Juan Bautista Arismendi and José Francisco Bermúdez. In the monoliths the names of the Venezuelan heroes and the four battles that sealed the independence of the Bolivarian countries were carved: Ayacucho, Boyacá, Carabobo and Pichincha, also represented in high relief.
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Cano has worked in painting, sculpting, etching, drawing, book illustrations and photography, but he is best known for his mural work, especially for work related to and promoting his native Totonac culture.(rincones15) . He is the creator of a high relief mural technique which used reinforced concrete as its base. While Cano’s work can be found in both Mexico and abroad, most of Cano’s work are found in Veracruz state, with over sixty murals alone in the state, and in Mexico City. (rincones15) His work can be found in many places in his native Papantla, from the monumental sculpture of a Volador atop a mountain overlooking the city to large murals such as “Homenaje a la Cultura Totonaca,” which describes the history of Papantla from the pre-Hispanic era to the present day.
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The fountain is at the end of the calçada das Virtudes in the north, a grandioso support wall for the pedestrian Passeio das Virtudes, in the south and west, are the terraced estates that belong to the majorat manors and spring of Calçada das Virtudes. It consists of a central, high backrest with two pilasters supporting a cornice and frontispiece interrupted by royal coat of arms. Between the fluted pilasters, is a lower cartouche with inscription, while the upper cartouche consists of two castles in high relief, one on either side of an edicule (where at one time there would have existed an image of the Virgin, in her invocation as Senhora dos Virtudes). This combination of imagery taken together represents the coat-of-arms of the city of Oporto.
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The sculpture with feminine features and life- size, appears decapitated and is made of basalt stone, which does not exist in the region. This was fragmented for ritual purposes, instead of sacrificing an individual it was replaced by the object, in order to promote fertility, as it was placed in a water tank, archaeologists explain. The Venus of Tamtoc has scarifications in the form of tattoos in high relief, which are observed on the shoulders, breasts and thighs of the sculpture, which refer to the 52 years of the Mesoamerican calendar, as well as the 104-year cycles of the lunar and solar cycle. It is presumed that the sculpture is not of a goddess, but of a priestess, which indicates the importance of women as a bearer of time through menstrual periods.
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SRTM void filling with spline interpolation in GRASS GIS. The elevation datasets are affected by mountain and desert no-data areas. These amount to no more than 0.2% of the total area surveyed,Reuter H.I, A. Nelson, A. Jarvis, 2007, An evaluation of void filling interpolation methods for SRTM data, International Journal of Geographical Information Science, 21:9, 983–1008 – 'the ‘finished’ grade version of the data (also referred to as Version 2) still contains data voids (some 836,000 km^2)'; 836,000 is 0.164% of the Earth's 5.1×10^8 km^2 surface but can be a problem in areas of very high relief. They affect all summits over 8,000 meters, most summits over 7,000 meters, many Alpine and similar summits and ridges, and many gorges and canyons.
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Porcelain room in the Palacio Real, Madrid, designed by Carlo Schepers in the 1770s Gricci had made a chinoiserie porcelain room, the Porcelain boudoir of Maria Amalia of Saxony, at the Palace of Portici near Naples (now moved to the Palace of Capodimonte), and was soon asked to make another one at the Palace of Aranjuez, which he made and installed between 1763 and 1765, at a cost of 571,555 Spanish reales.Battie, 104 The factory made another room, rather smaller and in a Neoclassical style, for the main Palacio Real, Madrid. This was designed by Carlo Schepers in the 1770s, and cost 256,958 reales.Battie, 104 Both these had walls largely of plain white plaques, over which lay a network of coloured elements in a medium to high relief, made up of plant motifs and figures.
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Its entrance has been designed so that the eye of any visitor is drawn upward toward of a pair of high relief female figures, a pair of bas-relief male figures, and further toward the rose window on the massive square elevator tower in the background. White brick bands within the red brick facade line the main and top floors while shorter white bands lay just below each floors' windows. Triangular projecting sculptured panels and niches that hold wrought iron deco railings interrupt a peculiar cornice treatment, and additional light and air for most of the apartments are provided by the encirclement of two dozen projecting bays. The building represents an exceptional double-U design in order to center the entrance so that it intersects between two streets.
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This motif of the "Voracious Beast" is found earlier in Assyrian art, and was popular among the Etruscans. Phoenicia was probably the intermediary for its transferral to Italy and around the Adriatic, but Voracious Beast must also have traveled through Asia Minor to appear in a North Thracian idiom not only on the Coţofeneşti neck-guard but also in high relief on the base of the Aghighiol beakers (Aghighiol is a village near the Danube Delta in eastern Romania). Silver beaker from Agighiol Silver beaker from Agighiol The upper register displays a row of three seated or squatting winged creatures, rather monkey-like with human faces, long forearms, and long tails. These, however, are surely direct, if run-down, descendants of the sphinxes on a gold beaker from Amlash .
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Gattinoni, Historia di la magna torre..., p. 61Marchesini, Un secolo all'ombra..., p. 38 By 1512, the tower itself had been completely repaired, and work began on the new belfry made in Istrian stone.Gattinoni, Historia di la magna torre..., p. 62 Attic of the bell tower with the lion of Saint Mark and the allegorical figure of Venice as Justice crowned and seated on a lionine throne The four sides of the brick attic above have high-relief sculptures in contrasting Istrian stone. The eastern and western sides have allegorical figures of Venice, presented as a personification of Justice with the sword and the scales. She sits on a throne supported by lions on either side in allusion to the throne of Solomon, the king of ancient Israel renowned for his wisdom and judgement.
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There were in all nearly 800 examples, set and unset. There were betrothal rings, memorials rings, gimmal rings, puzzle rings, rings of Roman, French, German, Italian, Spanish, Russian, Irish Scandinavian, English and American workmanship, and many Oriental rings, Sassanian, Indian, Japanese, Chinese, Hebrew, Gypsy and Moorish, one of the later being a gold circlet with the twelve signs of the zodiac engraved in high relief around it. The personality of the collector added greatly to the charm of this collection for all who had known him. As art editor of Century Magazine, and in a thousand other ways, no one had labored more enthusiastically and successfully in the cause of art encouragement and art education, and his death constituted a real loss for the progress of art in America…”Kunz, George Frederick. 1917.
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This late 11th- or 12th-century sculpture illustrates both the preferred medium of the Cham artists (stone sculpture in high relief), and the most popular subject-matter, the god Shiva and themes associated with the god. Shiva can be recognized by the third eye in the middle of his forehead and by the attribute of the trident. The hands above his head are making the gesture called uttarabodhi mudra, which is regarded as a symbol of perfection. Champa was an Indianised civilization within the Greater India that flourished along the coasts of what is now central and southern Vietnam for roughly a one thousand-year period between 500 and 1500 AD. The original Chams were probably colonists from the Indonesian islands, who adopted as their principal vocations those of trade, shipping, and piracy.
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The emblem has a red shield charged with a white two- headed bird, Gandabherunda bordered in blue. The crest depicts the Lion Capital of Ashoka (also used as the emblem of the Government of India), on a blue circular abacus with a blue frieze carrying sculptures in high relief of a galloping horse on the left, a Dharmachakra in centre, a bull on the right, and the outlines of Dharmachakras on the extreme left and right as part of Sarnath's Ashoka Pillar. The shield is flanked on either side by red-maned, yellow lion-elephant Sharabha supporters (mythical creatures believed to be upholders of righteousness stronger than lions and elephants) standing on a green, leafy compartment. Below the compartment lies written in stylized Devanāgarī, the national motto of India, "सत्यमेव जयते" (Satyameva Jayate, Sanskrit for "Truth alone triumphs").
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It has been suggested that they may have been part of an attempt by the Soviet Union to sell its silver on the world market by counterfeiting (with full precious metal weight) U.S. coins. If so, the engravers blundered by producing "impossible" coins. Among the examples of counterfeits of high-value collectible coins are the "Omega" coins produced in the early 1970s by an unknown counterfeiter who signed his creations with a miniature Greek letter omega. He is believed to have made over 20,000 fake 1907 high-relief nominally US$20 gold Double Eagle coins with the signature omega in the claw of the eagle, worth hundreds of millions of dollars at today's prices. His counterfeits are of such high quality that collectors will pay upwards of $1,000 for one; although a genuine coin sells for about $50,000 to $100,000.
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Brekle 2011, p. 2 Modern commentators agree that the inscriptions were produced by hammering individual letter punches one by one into the silver plate.Brekle 2011, p. 19; Visintini 2007, fn. 82; Pertoldi 1997; Lipinsky 1986, p. 78 Evidence for this typographic method can be derived from the observation that the letterforms comply with the criterion of type identity according to which every letter imprint must come from one and the same letter punch.Brekle 2011, p. 19 The type identity is inter alia evident in the repeated occurrence of the faulty letter "R" throughout the text that indicates a damaged letter punch.Brekle 2011, p. 17 The high relief letters stand proud in rectangular recesses created by the bases of the low relief punches; the fine edges between these recesses are a further indication of the sequential use of individual letter punches.
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Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel The two central sculptural figures of the swooning nun and the angel with the spear derive from an episode described by Teresa of Avila, a mystical cloistered Discalced Carmelite reformer and nun, in her autobiography, The Life of Teresa of Jesus (1515–1582). Her experience of religious ecstasy in her encounter with the angel is described as follows: The group is illuminated by natural light which filters through a hidden window in the dome of the surrounding aedicule, and underscored by gilded stucco rays. Teresa is shown lying on a cloud indicating that this is intended to be a divine apparition we are witnessing. Other witnesses appear on the side walls; life-size high-relief donor portraits of male members of the Cornaro family, e.g.
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The plain surfaces of the panels were also adorned with saints, often on a background of delicate gesso diaper, colored or gilded (Southwold). Nothing could exceed the beauty of the triptychs or retables of Germany, Flanders or France; carved with scenes from the New Testament in high relief arranged under a delicate lacework of canopies and clustered pinnacles glistening with gold and brilliant colors. In Germany the effect was further enhanced by emphasizing parts of the gilding by means of a transparent varnish tinted with red or green, thus giving a special tone to the metallic luster. The style of design used during this great period owes much of its interest to the now obsolete custom of directly employing the craftsman and his men, instead of the present-day habit of giving the work to a contractor.
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The proof coins struck at San Francisco, nevertheless, remained in high relief. This meant that in 1971 and for much of 1972 (until better-quality steel was used in the dies), the uncirculated strikes had a lower relief, less detailed surface, compared with the proof coins. Proof coins are struck slowly, and generally multiple times, to bring out the full detail. Striking of Eisenhower dollars for circulation began at Denver on February 3, apparently without any ceremony; minting at Philadelphia also began early in the year, although Bowers, in his comprehensive encyclopedia of silver and clad dollar coins, does not record a specific date. The first Eisenhower dollars in 40% silver, with an uncirculated finish, were struck at the San Francisco Assay Office (today the San Francisco Mint) on March 31, 1971; Brooks ceremoniously operated the presses.
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1949 picture showing the doors uncovered Portal of Aix Cathedral The doors of the cathedral were commissioned by the chapter in 1505, and were carved of walnut by the brothers Raymond and Jean Bolhit of Aix and by the Toulon sculptor Jean Guiramand. The doors feature four figures in high relief of the major prophets of the Old Testament (Isaiah, Ezekiel, Daniel and Jeremiah). Above the prophets are the figures of twelve Sybils, pagan fortune- tellers from antiquity, honoured by medieval Christian scholars for having forecast the birth, death and resurrection of Christ. The figures are framed with garlands of pomegranates and acorns, bunches of grapes, symbols of the Eucharist, a lion, a dragon and other fantastic animals: an aspic (another type of dragon) and a basilisk, a cock with the tail of a snake, representing the battle between good and evil.
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High-relief frieze at the facade depicting the story of the La Naval. Aside from being an architectural jewel, the Santo Domingo Church houses artistic treasures. The second to sixth Santo Domingos were bound by a common symbol, the image of the Nuestra Señora del Santísmo Rosario or La Naval de Manila. The image of Our Lady of the Holy Rosary of La Naval is kept on the left side altar all year round, except during the October fiesta when a special canopy and platforms are built for it behind the main altar. The La Naval image has been the object of Filipino devotion that dates back to the 16th century, and the icon’s shrine in Quezon City is host to an annual feast that culminates in a procession that draws tens of thousands of devotees.
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Located on the Bronze road linking Merpins (near Cognac) with the Atlantic coast, the current territory of the municipality of Tesson has been inhabited for a long period. In the hamlet "Le Maine" in particular, prehistoric tools and weapons have been discovered, including a ceremonial anthropoid dagger (the top of the handle is shaped like a human body) dating back to 150 BC. It is being kept at the National Museum of Archaeology in Saint-Germain-en-Laye. In the Middle Ages, the village happens to be situated on the pilgrimage route to Santiago de Compostela. On both sides of the pediment of the Romanesque church of the village (built in the second half of the twelfth century), two strange sculptures in high relief depicting, one a pilgrim, the other a robber armed with an ax, recall that time.
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Hogarth engraved this Britannia emblem with a possibly similar appearance to that of the later coins when he retouched one of his plates. Soon after the accession of King George I (1714-1727) the surplus of copper coins was used up, and in 1717 a new contract was signed and a Royal Warrant issued for the production of a new halfpenny. The halfpennies struck in 1717 and 1718 looked slightly odd as they were smaller, thicker and somewhat lighter than the previous issues, weighing 9.4-10.3 grams with a diameter of 25-27 millimetres, but they were well-struck with high-relief features of the right-facing head of King George and the inscription GEORGIVS REX on the obverse, and Britannia with the inscription BRITANNIA and the date in the exergue beneath Britannia. The 1717-1718 issue is known as the dump halfpenny.
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Retrieved 10 March 2017 Mary's upper body is somewhat rigid, stiff and awkward, compared to the fluidity of Christ, and the lower layers of her dress. According to art historian William Forsyth, the "large soft folds of the Virgin's cloak around her legs and over her body clothe her with majesty befitting so august a mourner". The figures are carved in high relief, which can be seen especially in the deep concave folds of the dress around Mary's legs.Forsyth, 180 Detail showing the bust of the Virgin Images of the Virgin cradling the body of her son in her arms and lap are known as "Pietà", and were a popular devotional subject in the later Middle Ages from the 13th century, especially in nunneries, possibly under Byzantine influence, as a form of the Lamentation of Christ.
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Central and southern parts of western Anatolia entered history with the still obscure Luwian kingdom of Arzawa, probably offshoots, as well as neighbors and, after around 1320 BCE, vassals of the Hittite Empire. Cybele monument located at Akpınar on the northern flank of Mount Sipylus, at a distance of from Manisa on the road to Turgutlu is, along with the King of Mira rock relief at Mount Nif near Kemalpaşa and a number of cuneiform tablet records are among the principal evidence of extension of Hittite control and influence in western Anatolia based on local principalities. Cybele monument by itself represents a step of innovation in Hittite art where full-faced figures in high relief are rare. The first millennium BC saw the emergence in the region of "Phrygians" and "Maeonians", the accounts concerning which are still blended with myths, and finally of Lydians.
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He is buried in Dalmeny churchyard with his infant daughter Rose (1857–1858), to the north-east of the church, the stone cross being partly obscured by a large yew tree on its south side which screens it from the centre of the churchyard. The monument to his first wife, Isabella and their joint children is in Dean Cemetery and this bears a fine portrait head of Burton in high relief sculpted by William Brodie. In 1901 it was publicly revealed that he supplied all the commentaries to the 240 architectural illustrations by Robert William Billings in The Baronial and Ecclesiastical Antiquities of Scotland, a work published in four volumes between 1845 and 1852, which contained 240 illustrations, with explanatory text. The work was a great success and has been reprinted several times, in 1899, 1900, 1901, 1908, 1909, 2008, 2012, 2015, 2016 and 2017.
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In 2002, Kass began a new body of work, feel good paintings for feel bad times, inspired, in part, by her reaction to the Bush administration. These works combine stylistic devices from a wide variety of post-war painting, including Ellsworth Kelly, Frank Stella, Jackson Pollock, Andy Warhol, and Ed Ruscha, along with lyrics by Stephen Sondheim, Laura Nyro, and Sylvester, among others, pulling from popular music, Broadway show tunes, the Great American Songbook, Yiddish, and film. The paintings view American art and culture of the last century through the lens of that time period's outpouring of creativity that was the result of post-war optimism, a burgeoning middle class, and democratic values. Responding to the uncertain political and ecological climate of the new century in which they have been made, Kass's work looks back on the 20th century critically and simultaneously with great nostalgia, throwing the present into high relief.
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After the period of Byzantine iconoclasm iconographical innovation was regarded as unhealthy, if not heretical, in the Eastern Church, though it still continued at a glacial pace. More than in the West, traditional depictions were often considered to have authentic or miraculous origins, and the job of the artist was to copy them with as little deviation as possible. The Eastern church also never accepted the use of monumental high relief or free-standing sculpture, which it found too reminiscent of paganism. Most modern Eastern Orthodox icons are very close to their predecessors of a thousand years ago, though development, and some shifts in meaning, have occurred – for example, the old man wearing a fleece in conversation with Saint Joseph usually seen in Orthodox Nativities seems to have begun as one of the shepherds, or the prophet Isaiah, but is now usually understood as the "Tempter" (Satan).
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The brass-founders fled to Huy, Namur, Middleburg, Tournai and Bruges, where their work was continued. The earliest piece of work in brass from the Meuse district is the font at St Bartholomew's church (cf. Fig. 1 in Gallery), Liège, a marvellous vessel resting on oxen, the outside of the bowl cast in high relief with groups of figures engaged in baptismal ceremonies; it was executed between 1113 and 1118 by Renier of Huy, the maker of a beautiful censer in the museum of Lille. From this time onward a long series of magnificent works were executed for churches and cathedrals in the form of fonts, lecterns, paschal and altar candlesticks, tabernacles and chandeliers; fonts of simple outline have rich covers frequently adorned with figure subjects; lecterns are usually surmounted by an eagle of conventional form, but sometimes by a pelican (cf. Fig. 2); a griffin surmounts the lectern at Andenne.
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It is much larger than most English alabaster work; the commonest surviving alabasters are thin panels carved in high relief from series covering the Passion or the Life of Christ which were framed and mounted as altarpieces. The discovery in 1863 of a headless but stylistically almost identical alabaster image, buried in the churchyard of All Saints' Broughton-in Craven suggests that, as was apparently usually the case, the statue was a standard model repeated several times by the workshop and probably produced for stock rather than upon receipt of a particular commission. Exports, as of the better documented contemporary export trade in icons of the Cretan school, were usually made in bulk for sale to dealers who then found buyers locally. It appears that the statue remained in its French shrine until the upheaval of the French Revolution when much ecclesiastical property was destroyed and dispersed.
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The main summit in this high-relief part of the landscape, is the Jugendberg (611 m) immediately southwest of Nittenau, but more spectacular are the slopes of the 664 m high Gailenberg above the bend in the Regen. On the right-hand, western side of the Regen the Schwarzberg reaches at height of 538 m immediately east of Maxhütte-Haidhof. In the north of the western part of the Falkensteiner Vorwald there is a second, somewhat less prominent Regen water gap : the Reichenbach Regen valley (Reichenbach Regental) which begins at the bend in the Regen below Roding, runs through Walderbach and ends directly below Reichenbach. By contrast, the wider Regen valley section between the two water gaps from Treidling to the town of Nittenau, as well as the Roding Regen valley, belong to the adjoining Upper Palatine Hills, while the valley section by Cham is part of the Cham-Furth Depression.
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Cano's "Volador" statue overlooking the city of Papantla, Veracruz Teodoro Cano Garcia (born 1932) is an artist from Papantla, Veracruz, Mexico who is best known for his mural work depicting the Totonac culture of his native region in northern Veracruz. Cano was discovered by Diego Rivera, who helped Cano as a youth enter the prestigious San Carlos Academy and then employed him as an assistant with the mural work being done at the Ciudad Universitaria in Mexico City. Cano painted his first solo mural in 1953, and since then has produced paintings, murals, sculptures, photography, book illustrations and more, including creating a high relief technique with a cement base. However, Cano is best known for his mural work which depicts and promotes the Totonac culture, and much of his work can be seen in his hometown, including a monumental sculpture of a Volador dancer overlooking the city.
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He carried out a lot of exhibitions since its first exposure in Marseille in 1965. He was inspired by the painters of its area, Cézanne, of course, and Vincent Van Gogh, but especially, he kept his freedom, illustrating magnificently that art is initially freedom to do something and to call it art… with the proviso of doing it with talent, inspiration and genius. Recently it was noticed while exposing in 2004 a series of painting in Aix-en- Provence on the Divine Comedy of Dante (see some examples on fr:Wikipedia) and took part in 2006 in "the Cézanne year" with an exposure to the museum of the tapestries of Aix-en-Provence, where it reinterpreted the work of the Master of Aix, with much of affection, freedom and creative intelligence. The town of Aix en Provence required of him to carry out an earthenware work and high relief in likings with the workshops "Décoramic" and P. Architta, to mark the year Cézanne 2006.
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Royal Star of Order of the White Eagle of Augustus II the Strong before 1730 Coat of Arms of Stanisław II Augustus with collana of Order of the White Eagle The 1713 badge was a Maltese cross enameled red with white borders with diamonds set in each of the balls at the eight points of the cross and with diamond set rays appearing between each of the points of the cross, i.e., a larger longer ray between each arm of the cross and a smaller ray between each of the two points of these arms. In the centre of the cross was a white enamelled eagle in high relief with spread wings and facing left and with a diamond set royal crown on its head. At the top of the cross between the two top points was a diamond studded semi-circular link through which passed a diamond studded ring through which, in turn, passed the light-blue ribbon from which it was worn.
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The figures on the font are in very high relief, and have a remarkable classicism of style; so much so that it has also been suggested that it was in fact made in Constantinople,Oxford or by Greeks in Rome about 1000. Other explanations attribute the classicism to close Byzantine influence,Henderson (1967), 46, Gombrich and others though as Honour and Fleming point out, "In bodily proportions, poses, gestures and garments, they recall Classical models far beyond Byzantine, Carolingian, or even Early Christian art"; they suggest the artist might have seen ancient Greek sculptures in Constantinople when on the First Crusade.Honour & Fleming, 288 online text. See also Beckwith, 178–179 Other writers explain the style as emerging from older Mosan and Carolingian traditions, with recent Byzantine influence, and prefiguring Gothic figure style.Beckwith, 178–179, Henderson (1967), 46–48 The idealized figures are modelled in rounded forms; several nude figures are present, and one is seen from behind in a three-quarters view, a sophisticated classical pose.
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For example, multi-story fluvial sandstone packages often infill incised valleys formed by the sea level drop associated with sequence boundaries. The incised valleys of sequence boundaries correlate laterally with interfluves, palaeosols formed on the margins of incised valleys. The valley infills are not genetically related to underlying depositional systems as previous interpretations thought. There are four criteria distinguishing incised valley fills from other types of multi-story sandstone deposits: a widespread correlation with a regional, high relief erosional surface that is more widespread than the erosional bases of individual channels within the valley; facies associations reflect a basinward shift in facies when compared with underlying units; erosional base of the valley removes preceding systems tracts and marine bands producing a time gap, the removed units will be preserved beneath the interfluves; increasing channel fill and fine grained units upwards or changes in the character of the fluvial systems reflecting increasing accommodation space.
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He has transformed an old wooden building at the corner of Mt. > Vernon and River Streets into the most attractive and picturesque place in > the city. ... The upper story and roof are tiled, the windows are abundant > and pretty; on the front of the large gable in the roof is a huge sunflower > in high relief; below it, on the upper story, is a winged lion in relief; > over the front door is a course of grotesque, open carving; the whole is > painted yellow, and is so attractive that people who love light and sunshine > hover about it like moths round a candle. There is nothing in New England in > the least like it; and Mr. Fields did it no more than justice when he > brought it into his lecture on Cheerfulness, a day or two ago, with a hearty > compliment to its originality, and its cheering influence."Old Boston > Streets" (Boston Letter to the Worcester Spy), printed in Wayside Gleanings > for Leisure Moments.
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294, 295. Methuen & Co. Ltd. Rochford family members include a soldier in Edward III’s French wars who was charged with the safety of John II of France during his captivity at Somerton Castle, Lincolnshire, a commissioner of Lincolnshire banks and sewers (fenland drainage), one given authority by Richard II to oversee horse and cattle selling in Holland and Kesteven, and between 1344 and 1409, six becoming High Sheriffs of Lincolnshire. Sir Ralph Rochford, who provided for the building of South Stoke St Mary's south chapel, was granted at Stoke free warren—hunting privilege from the King in 1448 on condition of preventing exploitation by others—a position previously held by John de Neville of Ganthorpe during the reign of Edward II. A sculptured high relief slab, possibly of John de Neville and his wife, was found in a field at Ganthorpe now lies in the north chapel, having been installed in the 19th century.
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By the close of the 1940s, Sofialakis began to travel and to participate in some of the most noteworthy artistic events of the period, establishing himself as one of the most prominent Greek artists, and perhaps, as art critic G. Marmarides noted, the most "authentic Greek artist of his time". In 1947 Sofialakis participated in two of the most significant, international artistic events of the decade: The Grekisk Konst Exhibition of the Royal Swedish Academy of Fine Arts and the Cairo Biennale (Cairo International Exhibition). Between April and May 1947, Sofialakis presented his work in the prestigious Grekisk Konst Exhibition (Exhibition of Greek Artists) which was organized by the Royal Swedish Academy of Fine Arts and which was held in Sweden, Denmark and Norway. His marble high-relief Mother and Child earned him the first prize in Oslo (of the Stockholm, Copenhagen and Oslo Exhibitions), and received much coverage by the press that had begun to recognize in him the emerging artist.
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Giuseppe Trabacchi (Rome, 1839 - 1909)Encyclopedia Treccani entry was an Italian sculptor. His principal works are: high relief sent in 1861 to Italian Exposition in Florence, depicting: Il primo parto; two funereal monuments for the church of Sant'Agostino, Rome, commissioned by professor Francesco Ratti; two life-size marble statues, depicting: L' Architettura e L'Arte Industriale completed for the Commune of Rome; a statuette depicting: L' Ascolta, in bronze, acquired in 1881 by the Ministry of Public Education; San Matteo, one of twelve statues that decorated the Basilica of Saint Paul Outside the Walls in Rome; the statue of San Luigi Gonzaga for the church of Santa Teresa, Rome; a life-size marble statue of Bathsheba, exhibited in 1888 at London; two funereal monuments commissioned by signori Rosi and De-Zeo of Bracciano, and a design of a monument to Benito Juarez, completed along with his long-term collaborator and sculptor Adalberto Cencetti. ‘‘Dizionario degli Artisti Italiani Viventi: pittori, scultori, e Architetti.’’, by Angelo de Gubernatis.
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The work was commissioned in 1939 by the Ministry of Popular Culture to the sculptor Arturo Dazzi from Carrara to decorate Piazza Imperiale – which, according to the project of the 1942 World's fair of Rome, should have been located in the center of the newborn quarter – and to commemorate the physicist and inventor Guglielmo Marconi (who had died 2 years earlier). With the entry of Italy into the World War II in 1940, the works were suddenly interrupted, even if Dazzi had already completed the first two registers, carved in high relief on Carrara marble. In 1951 work resumed, despite the intention of the Ministry of Public Works, chaired by Salvatore Aldisio, to demolish the structure. In 1953, on the occasion of an Agricultural Exhibition held in EUR, the sculptor refused to cover the reinforced concrete structure with temporary panels of gesso and, after having requested some funding in view of the 1960 Summer Olympics, the monument was concluded and inaugurated on 12 December 1959.
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The Bharhut Yavana, a possible Indian depiction of Menander, with the flowing head band of a Greek king, northern tunic with Hellenistic pleats, and Buddhist triratana symbol on his sword. Bharhut, 100 BC. Indian Museum, Calcutta.Faces of Power: Alexander's Image and Hellenistic Politics, Andrew Stewart, University of California Press, 1993 p. 180Popular Controversies in World History: Investigating History's Intriguing Questions [4 volumes]: Investigating History's Intriguing Questions, Steven L. Danver, ABC-CLIO, 2010 p. 91Buddhist Art & Antiquities of Himachal Pradesh, Up to 8th Century A.D., Omacanda Hāṇḍā, Indus Publishing, 1994 p. 48 At Bharhut, the gateways were made by northwestern (probably Gandharan) masons using Kharosthi marks 100-75 BC. A warrior figure, the Bharhut Yavana, appeared prominently on a high relief on the railings of the stupa of Bharhut circa 100 BC.Didactic Narration: Jataka Iconography in Dunhuang with a Catalogue of Jataka Representations in China, Alexander Peter Bell, LIT Verlag Münster, 2000 p.
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The monument utilises a panelled granite structure long which was originally designed as a smoke outlet for underground trains when they were powered by steam engines. A walkway was cut obliquely through the middle of the structure, and is lined with panels of high relief sculpture in bronze depicting scenes from the Battle of Britain. The centrepiece is an approximately life sized sculpture of airmen scrambling for their aircraft during the battle. The outside of the monument is lined with bronze plaques listing 2,936 pilots and aircrew from 14 countries who took part in the battle on the Allied side. In July 2020, Ajax historian Martin Sugarman, lost a campaign to list one of the airmen, whose parents were born in Mandatory Palestine, as being “British-Israeli" or "British Palestinian”. A member of the London monument team advised that, with nearly 3,000 names on the memorial, there was “no prospect of post-unveiling correction”.
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Viewed March 19, 2014. Lee was again commemorated on a commemorative stamp in 1970, along with Jefferson Davis and Thomas J. "Stonewall" Jackson, depicted on horseback on the 6-cent Stone Mountain Memorial commemorative issue, modeled after the actual Stone Mountain Memorial carving in Georgia. The stamp was issued on September 19, 1970, in conjunction with the dedication of the Stone Mountain Confederate Memorial in Georgia on May 9, 1970. The design of the stamp replicates the memorial, the largest high relief sculpture in the world. It is carved on the side of Stone Mountain 400 feet above the ground."Stone Mountain Memorial Issue", Arago: people, postage & the post, National Postal Museum online, viewed March 16, 2014. Stone Mountain also led to Lee's appearance on a commemorative coin, the 1925 Stone Mountain Memorial half dollar. During the 1920s and '30s dozens of specially designed half dollars were struck to raise money for various events and causes. This issue had a particularly wide distribution, with 1,314,709 minted.
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Marcantonio Sab[b]atini (1637-1724), of a noble family of Bologna, was an antiquary and papal curator to Pope Clement XI and art advisor to Charles VI, a central figure among the cognoscenti in Baroque Rome. Under his supervision the pope's nephew, Alessandro Albani, developed the taste for antiquities for which he is remembered;Seymour Howard, "Some Eighteenth-Century 'Restored' Boxers" Journal of the Warburg and Courtauld Institutes 56 (1993, pp. 238–255) p. 239. it was Sabbatini who selected from Albani's collection the antique moss agate carved in high relief with a sleeping tiger that would make a suitable gift to Prince Eugene of Savoy.The agate, which Antonio Francesco Gori later considered "unico al mondo", was obtained from Prince Eugene's heirs by Antonio Maria Zanetti, who sold it in 1764 to the Earl Spencer and his countess (Diana Scarisbrick, "Piranesi and the 'Dactyliotheca Zanettiana'" The Burlington Magazine 132 (June 1990:413-414).
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Original variant 1938 to 1943 of the Jubilee Medal "XX Years of the Workers' and Peasants' Red Army" The Jubilee Medal "XX Years of the Workers' and Peasants' Red Army" is a 32 mm in diameter oxidised silver matte finished circular medal with a polished 2.5 mm rim. On the obverse, a large red enamelled five pointed star with a silvered edge, the tip of each point reaching the medal's edge; at the bottom sitting on the rim, in deep relief, the prominent 8 mm high gilded Roman numeral "XX" going up between the star's lower rays to superimpose it over 4 mm. On the reverse, a 25 mm high relief image of a Red Army soldier clad in the winter uniform of the Red Guard and firing a rifle, at the lower right side of the soldier, the dates "1918-1938". From its establishment in 1938 to 1943, the medal was secured by a ring through the medal suspension loop to a small rectangular mount covered by a red silk moiré ribbon.
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Tile by J. & J. G. Low Art Tile Works, between 1879-1883 J. & J. G. Low Art Tile Works, also known as J. & J. F. Low Art Tile Works or Low Art Tile Works, was an American manufacturer of decorative ceramic tiles, active from 1877-1902 in Chelsea, Massachusetts. The company was founded by John Gardner Low, along with his father John Low, after seeing European tiles at the 1876 Centennial Exhibition in Philadelphia. (Its name later changed when J. F. Low, son of John Gardner Low, replaced his retired grandfather.) During the 1880s, the company won awards in the United States and Europe for its high relief decorative art tiles, which ornamented such objects as candlesticks, cast-iron stoves, clocks, fireplace surrounds, soda fountains, trivets, and walls. Several chemists and designers who worked for Low Art Tile Works later started their own companies, including William H. Grueby of the Grueby Faience Company, Arthur Osborne of Ivorex plaques, and George W. Robertson of the Robertson Art Tile Company.
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The Li gui in National Museum, Beijing The Li gui () is an ancient Chinese bronze sacrificial gui vessel cast by an early Zhou dynasty official named Li. It has the distinction of being the earliest Zhou bronze vessel to be discovered,Shaughnessy (1989), p 51 the earliest record of metal being given as a gift by the king,Cook, p 267 one of only two vessels dateable to the reign of King Wu of Zhou to record personal names,Xie, p 75 and the only epigraphic evidence of the day of the Zhou conquest of Shang.Shaughnessy (1991), p 87 This makes the Li gui highly important to the periodisation of the Shang and Zhou dynasties, and it has been described as bearing "the single most important inscription regarding the Zhou conquest of Shang."Li Feng, p 48 A round vessel on a square pedestal, the Li gui measures 28 centimeters high; the mouth of the vessel has a diameter of 22 centimeters. It has two bird- shaped handles and is covered with a high-relief taotie motif similar to earlier Shang ritual objects.
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A detail of the façade Sacro Cuore di Gesù in Prati rises in Lungotevere Prati, between Via Ulpiano and Via Paolo Mercuri, close to the Palace of Justice. The façade with salients, entirely made with reinforced concrete, underlines the internal subdivision into three naves thanks to six quadrangular piers, each surmounted by a spire. In the lower part there are three portals, whose embrasure is decorated by little columns made of red Verona marble; each portal is surmounted by a wimperg and decorated with a marble lunette hosting a bas-relief: the central lunette portrays the Souls of Purgatory, the one on the right the Deposition of Christ and the one on the left the Resurrection of Christ; the wimperg above the central portal shows a high-relief portraying the Sacred Heart of Jesus between two Angels. In correspondence to each of the side naves there is a high triphora, while the central nave corresponds to a big esaphora including a rose window showing a richly decorated trestle.
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Ivory Indian flasks of the Mughal and post-Mughal periods, regarded as priming flasks, have a fish-like shape reflecting the tip of a tusk, and are often carved with animals (typically attacking each other) in high relief, with the bodies of the animals in the round at the narrow tip."Powder Flask", in the Walters Art Gallery The bodies of hunter and prey are closely and often illogically connected, forming what have been called "composite animal" forms, which have interested art historians. The Indian tradition of ivory carving (which was probably objectionable to Hindu patrons) was rather late-starting apparently diffusing from a number of centres including a school of carving developed in the Portuguese colony of Goa from the 16th century onwards.Born, 93-96 The flasks, from the 17th to early 19th centuries, have echoes of much older works in the Animal style especially associated with ancient Scythia, and an intermediate tradition of objects, now lost, in perishable materials such as (in India) wood has been proposed.
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Sofialakis sculpting Goddess Demeter Relief His Odysseus, a high-relief in Pendelic marble was presented by the University of Athens to Queen Sophia of Spain (then Princess of Greece) in 1962 on the occasion of her wedding, while his characteristic micro-sculpture in marble featuring Greek mythological motifs attracted collectors from all over the world, with many of his works now found in museums and private collections in Stockholm, Copenhagen, Oslo, Cairo, Frankfurt, Vienna, Paris, London, Sydney, Korea, and the United States. Sofialakis synthesized two very distinct modes in his art, bearing the influence of his great maestro, Bonanos and his professor at the School of Fine Arts, Tombros. From the former, he gleaned the sculpting techniques characteristic of the Canova School, in which Bonanos had received his training; from the latter, he discovered the modernist impulse in the manner of Maillol, who had influenced Tombros during his studies in Paris. The resulting style of classical realism was wholly unique to Sofialakis, who used his erudition and creativity to bridge the gaping divide between rationality and pathos in his work.
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The marble tabernacle, in high relief and about four metres high, was made by Antonino Gagini and Baldassare Massa (1557–1558). The ciborium, among for kneeling angels, is surmounted by a Crucifix above the figures of saint John the Apostle, the Virgin Mary and the Holy Ghost as a dove and among four angels’ heads:[5] there are also the scene of the Flagellation and the figure of saint John Baptist with Jesus’baptism, saint Michael the Archangel while defeating Satan, the chasing away of the rebel angels into hell, and finally the coat of arms of Alcamo and of the abbess Margherita di Montesa.Gianni Guadalupi, Mariano Coppola, Alcamo, introduzione di Vincenzo Regina(collana Grand Tour), Milano, Grafiche Mazzucchelli, 1995, . She made Baldassare Massa (a sculptor from Palermo) complete the work started by Gagini and inserted seven scenes of the Passion of Jesus, two oval paintings representing saint Benedict and the Redeemer, and a depiction of God the Father with his open arms. The marble tabernacle of the Holy Sacrament was later gilded by Giovan Leonardo Bagolino, a painter from Verona and Sebastiano Bagolino’s father.
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