122 Sentences With "horizontals" | Random Sentence Generator

There are 15 paintings in the show, whose formats range from tall verticals to panoramic horizontals.

The letters never spell out words, so we are left appreciating their geometric verticals, horizontals, and diagonals.

The horizontals round the corner with delicate 90-degree curves that are no less lovely for being structurally necessary.

The painting, echoing its title, is architectonic: dynamic but stable, anchored by a balanced set of strong verticals and horizontals.

And in the painting from 23 octobre 2909, we have an interlocked structure of broad verticals and horizontals, composing a grid.

While horizontals and verticals are resolutely flat, diagonals and ellipses can be simultaneously flat or indicate the receding edge of perspectival space.

Grosvenor's horizontals evoke the meeting of sea and sky as well as desert and sky — both of which he experienced as a child.

Winners can get more than 50 percent market share whereas in horizontals, like CRM, a winner might get 10 percent of the market.

On the first floor, we see the paintings with wide black horizontals or verticals, which made his name in France and America in the 254s.

In the large-scale 1981 "Centerfolds/Horizontals" series, the ingénues appeared half-naked in disheveled beds, looking dazed as if in the aftermath of sexual attack.

The whole should suggest a schematic enclosure, but instead keeps us at bay, engaging us with the different relationships between each slanted vertical and the long horizontals.

In choosing the theme entries I came up with two good long vertical themers which crossed CROSS REFERENCES serendipitously, so then I needed the two intersecting long horizontals.

At the Whitney, Leonard's photographs are slightly different sizes but still hung together, horizontals and verticals in a line like the sporadic, charged details of a past moment.

THE THEORY OF RELATIVITY uses an "F" for its overlapping letter with FOUR, as does TUTTI FRUTTI (with FIVE), but the geometric result is the same — those horizontals with centered stems are forming four distinct T's.

Paul Cézanne's landscapes needed Mont Sainte-Victoire; for Claude Monet's late style, the water lilies in his pond were essential; and the verticals and horizontals of the windmills of his native Holland made the perfect subject for Piet Mondrian's early paintings.

" He drew on Polaroid pictures he had taken of his dining table to rethink it as "an interior with a complexity of horizontals and verticals and diagonals," he said, "so that it would be like being in a jungle of legs.

Other notable paintings include the image of a head framed by a pillow, its weight and volume captured in broad gestures of color, and a landscape titled "Opening a Bottle" (2016), in which the dramatically contrasting horizontals of a deep space silhouette a lone, shadowy figure.

Piet Mondrian's transitional pieces such as "The Grey Tree" (1911), "The Flowering Apple Tree" (1912), and "Composition No. 10 Pier and Ocean" (1915) employ a cross-based heuristic in their translations of nature, becoming preludes to the more purified verticals and horizontals of his mature style.

The painting's title is a reference to the stock and trade of an actual barbershop as well as a homophonic play on the Dutch utopian art movement "De Stilj" which posited the use of horizontals, verticals and elementary colors, including black and white, in search of universal principles.

Swaggering, curved lines from beneath are held in check by streaming, blurred, white horizontals with blurred black verticals on top; and if that were not enough to disquiet the soul, Scully marches forth with another layer of ochre and pink striations at indeterminate intervals, seamlessly putting each of them in place.

The contrast between the downward-pointing verticals, horizontals, and diagonals of the "yellow" house and the diagonal planes formed by the outlines of the shadows may be purely factual, but they elicit so much more: the house's angles, pointing downward, seem suspended and about to plummet; the shadow's shapes become collapsed forms, a cardboard box in the process of being unfolded and flattened.

The Beijing–Lanzhou passageway is a high-speed rail corridor running from Beijing through Hohhot and Yinchuan to Lanzhou. It was announced in 2016 as part of the "eight verticals and eight horizontals" railway network plan.

The digitized version of the LÚ sign (Parpola 1971) is a member of the "3-horizontals" section (listed sign nos. 326-349Parpola, 197l. The Standard Babylonian Epic of Gilgamesh, Sign List, pp. 155-165, Sign Nos.

Horizontal supports are held in place by small metal hooks permanently mounted to each end of the pipe. The hooks are then placed into a slot on the upright and held in place by gravity, thereby making the pipe and drape support system. In order to create longer, wider walls of pipe and drape, multiple sections of drape and horizontals are lined up by the uprights having multiple slots and the horizontals going in two opposite directions. Thus, sequential sections of pipe and drape panels make up the wall of drape.

The effect is specific to the region of the retina that is exposed to the induction stimuli. This has been shown by inducing opposite effects in adjacent regions of the retina (i.e., from one region of the retina verticals appear pink and horizontals appear greenish; from an adjacent region of the retina, verticals appear greenish and horizontals appear pink). Nevertheless, if a small region of the retina is exposed to the induction stimuli, and the test contours run through this region, the effect spreads along those test contours.

Reverse- contrast 'Italian' type compared to the bold design Elephant. Both are very bold, but Elephant's thick lines are the verticals and the Italian's are the horizontals. A reverse-contrast type is a typeface in which the stress is reversed from the norm: instead of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet printing, the horizontal lines are the thickest. Reverse-contrast types are rarely used for body text, and are particularly common in display applications such as headings and posters, in which their unusual structure may be particularly eye-catching.

Starting in the eighteenth century, typefounders developed what are now called transitional and then Didone types. These typefaces had a far greater amount of stroke contrast than before, with the difference in stroke width much greater than in earlier types. These had more constructed letterforms, matching the steely calligraphy of the period, and daringly slender horizontals and serif details that could show off the increasingly high quality of paper and printing technology of the period. In addition, these typefaces had a strictly vertical stress: without exception, the vertical lines were thicker than the horizontals, creating a much more geometric and modular design.

Beam engines were installed until the 1870s when horizontal engines took over. Abbey Mill Oldham (1876) needed 700 hp, Nile Mill (1896) needed 2500 hp. By the 1890, boilers produced 160 psi, and the triple expansion horizontals became standard. Chimneys were octagonal.

Reverse-contrast "Italian" type in an 1828 specimen book by the George Bruce company of New York. Shown below it is a "fat face" design, a type also popular in early 19th century printing. Both typefaces are very bold, but the fat face's thick lines are the verticals as normal and the Italian's are the horizontals. A reverse-contrast letterform is a typeface or custom lettering in which the stress is reversed from the norm: instead of the vertical lines being the same width or thicker than horizontals, which is normal in Latin- alphabet writing and especially printing, the horizontal lines are the thickest.

The construction is a series of cantilevered balconies and terraces, using limestone for all verticals and concrete for the horizontals. The house cost $155,000, including the architect's fee of $8,000. It was one of Wright's most expensive pieces. Kaufmann's own engineers argued that the design was not sound.

The composition of the building contrasts horizontal with vertical elements, and sheer surfaces with carefully controlled openings and deep shadowed recesses. The vertically proportioned elements are the central entrance tower and stepped corners. The wards, with long open balconies curved and cantilevered at the ends, form the horizontals.

The village stocks can be viewed by the A338 roadside. They were originally at the road junction, but are now opposite the Bat and Ball Hotel. They were restored after being badly damaged by a lorry. The stocks have a whipping post and horizontals with four leg holes.

His surroundings completely changed, Simpson enlisted primitivism in a wholly new way. Specifically he took up the stacked structure commonly seen in children’s drawings, which he ingeniously applied to the extreme horizontals of the Sacramento skyline? No longer was Simpson’s primitivism a mannered affectation. It was fully internalized to his composition.

The Windermere flats at 49 Broadway, Elwood were built in 1936. This celebrated block of flats in the Moderne style, with a dynamic interplay or horizontals, verticals and projecting curved balconies, creating a striking street presence, is one of the earliest Moderne flats added to the Victorian Heritage Register, in 1992.

122 Blockstanderbau houses are, in effect, half-timbered houses. The horizontal timbers are for infill, rather than for load-bearing support. These horizontals serve the same function as brick infill or wattle-and-daub filler in other half-timber framing. The Hess log farmhouse originally had 33 vertical posts, of which most survive.

A text set in this typeface looks like a weaving pattern...I > really enjoyed drawing it. For one thing it was great fun. Frutiger decided to return to the Caslon type's pattern of all horizontals being thick apart from those on 'a' and 'e', which he felt could not be fitted into this system.

Attic Red-Figure Kylix, Utah Museum of Fine Arts, 2008-02-19. Unique compositional skills were necessary for the artisans to attain due to the lack of verticals and horizontals on the surface. Onesimos, Makron, and Douris were famous painters in this field, renowned for their works.Ancient Greek Pottery , Young Aggressive Sincere Organized and United, 2005-01-10.

Three other signs are similarly built, but contain 1-vertical at left, with 2-verticals at right for lu (cuneiform) (with 3-short horizontals in the center, no. 537), and the same but only 1-short horizontal at center, ib (cuneiform)(also ip, no. 535). The third similar sign, (no. 536) has 1-vertical left and right, ku (cuneiform).

Saffron said she liked the blue glass and that the "angled aluminum cap over the first floor is an especially sleek finish, and ties nicely into the aluminum bands that organize the facade into horizontals and verticals." Her negative opinions of the building included the public space of Girard Park which she describe as a "barren, virtually unusable piece of concrete".

Cognizant is organized into several verticals and horizontal units. The vertical units focus on specific industries such as Banking & Financial Services, Insurance, Healthcare, Manufacturing and Retail. The horizontals focus on specific technologies or process areas such as Analytics, mobile computing, BPO and Testing. Both horizontal and vertical units have business consultants, who together form the organization-wide Cognizant Consulting team.

By the late 1990s, Schweitzer was recognized for his graphic style and complex themes. Curator Ricardo L. Castro described Schweitzer's distinctive "L" leitmotiv of verticals and horizontals as a merger of Western and Eastern influences,Castro, Ricardo L. "A Taxonomy of Collecting." 4. and the primacy of image over text as reflective of Renaissance paragone.Castro, Ricardo L. John A. Schweitzer, The Shapes of Time: 1991-2001. 16.

As the same work is being carried out in different parts of the world, it increases the range of abilities of the group by getting to a more extensive pool of Human Resources worldwide. This introduces the need for all the HRs acting as one mind to enforce collaborations and decision-making in different verticals and horizontals within an organization, as well as to communicating with stakeholders and prioritizing the deliverable.

Britannic is a sans-serif typeface family that was sold in metal type by Stephenson Blake. It is a "modulated" or stressed sans-serif design, in which the vertical lines are clearly thicker than the horizontals. The Klingspor Museum reports that it was originally created by the Wagner & Schmidt foundry of Leipzig, Germany. In design it is intended for headings, advertisements and signs rather than continuous body text.

These projects are joined by a private sanatorium of Predeal, Janco's only design outside of Bucharest. Built in 1934 at the base of a wooded hill, it has the sweeping horizontals of international streamlined Modernism, with Janco's innovation of diagonally placed rooms creating a striking zigzag effect. Janco had one daughter from his marriage to Lily Ackermann, who signed her name Josine Ianco-Starrels (b. 1926), and was raised a Catholic.

On the other hand, Nüshu characters are structured by four kinds of strokes, including dots, horizontals, verticals and arcs. Professor Zhao decided to publish a collection of Yang's works. In January 2004, The Full Collection of Yang Huanyi's Nüshu Works was published with the help of some experts in Tsinghua University. The Collected Works of Yang Huanyi's Nüshu collects Yang Huanyi's Nüshu works along with their Chinese translations.

Construction began in May 1920. Mond gave Lutyens the opportunity to make any amendments to the design before work began on the permanent Cenotaph. The architect submitted his proposed modifications on 1 November, which were approved the same day. He replaced the real laurel wreaths with stone sculptures and added entasis—subtle curvature, reminiscent of the Parthenon in Greece, so that the vertical surfaces taper inwards and the horizontals form arcs of a circle.

With the exception of pieces composed for recorded media (in which he used over-dubbing or acoustical sound sources), Brant did not use electronic materials or permit amplification in his music. He is perhaps best known for his compositions Verticals Ascending (conceptually based on the architecture of the Watts Towers in Los Angeles) and Horizontals Extending. A "spatial opera", The Grand Universal Circus (Libretto: Patricia Gorman Brant) was premiered in 1956."PDF", Juilliard.edu.

Designed as bachelor flats, four-story Newburn was created in 1939 by Romberg, Shaw, et al. The first design was changed in order to make it more cost-effective and fulfil client's fresh requirements. The style of the Newburn is new, incorporating the design to raise the privacy of the balconies, views and provide a north orientation. At the same time, it takes in the Expressionist's curved elements without leaving out the Mendelsohn's bold horizontals.

Salisbury has a similar lack of verticals while the course below the triforium and the undecorated capitals of Purbeck stone create strong visual horizontals. In the cases of Winchester, Norwich and Exeter the horizontal effect is created by the emphasis on the ridge rib of the elaborate vaults. alt=This view shows a vaulted ceiling of great complexity with many small interconnecting ribs. There are carved and gilt stone bosses wherever the ribs meet.

The massing is unified by string courses, > extended beams and boldly overhanging roofs which co-exist with the > interplay of horizontals and verticals. Typical of Purcell and Elmslie was > the use of both brick and stucco on the exterior. The living room and dining > room are opened as a single space which pivots around the fireplace. This > was a highly sophisticated spatial arrangement maximizing the sense of space > in a restricted area.

The last major project for Bailey was the Chicago Landmark art moderne First Church of Deliverance in 1939. The First Church of Deliverance designed in Art Moderne style, was inspired by Reverend Clarence H. Cobbs. The art Moderne style is predominately composed of strong horizontals with large glass panel windows. Walter T. Bailey implemented the style of Art Moderne by adding lines of green terra-cotta blocks on the facade of the Church of Deliverance.

89 The basic plane is, in general, rectangular or square. Therefore, it is composed of horizontal and vertical lines which delimit it and define it as an autonomous entity which supports the painting, communicating its affective tonality. This tonality is determined by the relative importance of horizontal and vertical lines: the horizontals giving a calm, cold tonality to the basic plane while the verticals impart a calm, warm tonality.Kandinsky, Point et ligne sur plan, éd.

The lower part of the building is completed by an unbroken continuous ledge, whose profile – three flat bands which are contrasted with each other by ovolo moulding – is taken over from the arcade arches. The architect contrasts two forms of cylinder and semi-sphere by a repeated emphasis on horizontals, and, over and above that, divides them into a palpable terrestrial zone and into a light, celestial one that cannot be precisely gauged with the eye.

Uprights are supported by steel bases weighing from 6 to 62 lb. The ground support system is enhanced by the addition of sand bags or stage weights added to further counterbalance the height and weight of the drapes hung on the pipe system. The horizontals can also be fixed or telescopic. Fixed horizontal supports range from 1’ to 10’, whereas a telescopic drape support, also known as a slider, can range from 2’-3’ to 9’-16’.

The verticals will look green and horizontals pink in the example given. Therefore, the illusory color apparent on the test fields is contingent on the orientation of the lines in that test field. Furthermore, the orientation-color contingencies present in the illusion are the reverse of those present in the adapting stimulus (i.e., the magenta-vertical and green-horizontal adaptation gratings produced illusory magenta on the horizontal test gratings and illusory green on the vertical test grating).

Natural gas production from the Woodford Shale The Devonian Woodford Shale in Oklahoma is from 50 to 300 feet (15 – 91 m) thick. Although the first gas production was recorded in 1939, by late 2004, there were only 24 Woodford Shale gas wells. By early 2008, there were more than 750 Woodford gas wells.Travis Vulgamore and others, "Hydraulic fracturing diagnostics help optimize stimulations of Woodford Shale horizontals," American Oil and Gas Reporter, March 2008, p.66-79.

Emerson Middle School's main building was designed by architect Richard Neutra in the International Style of Architecture, and built between 1937 and 1938. It is a two-story, steel-framed structure with strong horizontals. The first-floor classrooms have large, 15-foot glass and steel sliding doors that open to extend the spaces to the outside, while the second-floor classrooms have stairs leading to rooftop terraces.Barbara Mac Lamprecht, "Richard Neutra: Complete Works," Taschen Books, 2000. p.140.

A representational artist with a modernist and at times abstract approach, Sanchez emphasized "pattern, color and strong lighting contrasts". By 1970 architectural themes, from detailed stained glass windows to abstracted storefronts or city skylines, dominated his oeuvre. Carol Damian of the Frost Art Museum (Miami FL) described his work as studies in "horizontals and verticals, bold stripes of color, and the ever-present shadows, especially diagonal shadows that he so favored, with darks and lights in repetition."Damian, Carol.

In 1952, her one-woman show Paris '90 (music and lyrics by Kay Swift) premiered on Broadway. An original cast recording was produced by Goddard Lieberson for Columbia Records, now available on compact disc. In later years Skinner wrote Madame Sarah (a biography of Sarah Bernhardt) and Elegant Wits and Grand Horizontals about the Belle Epoque. She appeared with Orson Welles on The Campbell Playhouse radio play of "American Cavalcade: The Things We Have" on May 26, 1939.

In contrast to the original Caslon type, which features horizontals in the middle of the letter (like the cross-bar in the H) that are often but not always thick, French Clarendon types have the only thick lines at the top and botton, and all inner horizontals thin, and are generally less "conceptually" reverse- contrast, with serifs in a more conventional alignment apart from the thick strokes at top and bottom. David Shields reports that the first type of the genre is the "French Antique" face of Robert Besley & Co. (which had released and copyrighted the first Clarendon face) in an 1854 specimen. The University of Texas at Austin, which maintains a large archive of American wood type, reports that the first known wood French Clarendon type was issued by William Hamilton Page in 1865. Their collection shows the many other names used for wood type which display reverse-contrast characteristics, including 'Celtic', 'Belgian', 'Aldine' and 'Teutonic', as well as Italian again and sometimes 'Tuscan' or 'Etruscan' also.

Located on the left hand side of the dairy pavilion the horse stalls are constructed from former rail track sections used as fence posts with stalls created by steel pipe horizontals in-between the columns. The skillion roof has steel pipe rafters and is sheeted with corrugated steel roof sheeting. The horse stalls provide an ambulatory link between the former dairy pavilion and the Stud cattle pavilion. Ample shade is afforded to the horse stalls by least two Weeping Figs (Ficus benjamina).

Kitchen Door with Ursula (1966) is a prime example of her later style. Here, the viewer looks through the open kitchen door of Pflug's apartment onto an urban winter scene, but the glass panes of the door "reflect" the same scene in the summer, with greenery and a child seated on the balcony. The view is defined by many horizontals and verticals, creating a containment that is common in her paintings, which often feature windows and birdcages. She also painted many urban landscapes.

Kufic script, 8th or 9th century (Surah 48: 27–28) Qur'an. The main characteristic of the Kufic script "appears to be the transformation of the ancient cuneiform script into the Arabic letters" according to Enis Timuçin Tan. Moreover, it was characterized by figural letters that were shaped in a way to be nicely written on parchment, building and decorative objects like lusterware and coins. Kufic script is composed of geometrical forms like straight lines and angles along with verticals and horizontals.

34 Expressionist painter Franz Marc's Horse in a Landscape bears formal similarities with The Monk by the Sea. Friedrich, though a Romantic painter, had a significant influence on later Symbolist and Expressionist artists. Franz Marc's Horse in a Landscape (1910) has been described as formally similar to The Monk by the Sea. Although their use of colour is at two extremes, both paintings are compositionally simple, with undulating horizontals and a figure that looks out at the same scene as the viewer.

The building was originally timber- framed with wattle and daub infill. In the 1813 rebuilding the south, east and west walls were replaced by brick and it is likely that the infill in the north wall was replaced by brick. The north wall is still timber-framed with ten oak uprights and four horizontals at different levels. On its ground floor are three two-light casement windows and on the first floor two two-light casement windows which are placed irregularly.

Islamic regional cartography is usually categorized into three groups: that produced by the "Balkhī school", the type devised by Muhammad al-Idrisi, and the type that are uniquely foundin the Book of curiosities. The maps by the Balkhī schools were defined by political, not longitudinal boundaries and covered only the Muslim world. In these maps the distances between various "stops" (cities or rivers) were equalized. The only shapes used in designs were verticals, horizontals, 90-degree angles, and arcs of circles; unnecessary geographical details were eliminated.

Islamic regional cartography is usually categorized into three groups: that produced by the "Balkhī school", the type devised by Muhammad al- Idrisi, and the type that are uniquely foundin the Book of curiosities. The maps by the Balkhī schools were defined by political, not longitudinal boundaries and covered only the Muslim world. In these maps the distances between various "stops" (cities or rivers) were equalized. The only shapes used in designs were verticals, horizontals, 90-degree angles, and arcs of circles; unnecessary geographical details were eliminated.

Similar hinges were located at the midpoints of the long horizontal bars of the rectangle. These midpoint pivots connected to the vertical bar on the table. The result was a pantograph that allowed the long horizontal bars to be rotated into the vertical to point upward at an aircraft, sighting along the upper bar. A final piece was a separate vertical bar connected to the two horizontals and pivoted in the same way so that it remained pointing vertically as the horizontal bars were rotated.

The Ernest M. Wood Office and Studio is a building located in the Adams County, Illinois city of Quincy. The building was designed by Quincy architect Ernest M. Wood and reflects the designs of Frank Lloyd Wright; as such it is an example of Prairie style architecture. The building, stucco and wood, was completed in 1912 and listed on the National Register of Historic Places on August 12, 1982. The Office and Studio incorporates typical elements of Prairie style such as geometric shapes and horizontals.

The use of the Romanesque archway in the entrance, an emphasis on horizontals as seen in the low roofs of the dining room wing and porte cochere and the use of different trim materials in the upper part of the house. When light shines on this area, the roof appears to be hovering and displays very deep and dark shadows. Another unique feature of this house is that Wright was able to design everything in the house, from the furniture to the lighting fixtures.

The pointed arches used in Perpendicular were often four-centred arches, allowing them to be rather wider and flatter than in other Gothic styles. Perpendicular tracery is characterized by mullions that rise vertically as far as the soffit of the window, with horizontal transoms frequently decorated with miniature crenellations. Blind panels covering the walls continued the strong straight lines of verticals and horizontals established by the tracery. Together with flattened arches and roofs, crenellations, hood-mouldings, lierne vaulting, and fan vaulting were the typical stylistic features.

The Mid-century modern style exterior was decorative and colourful, featuring a flattened hexagonal pattern on the bold horizontals of the podium of the hotel and the shopping block, zig-zag edges to the base and top of the tower block, and most strikingly, bright blue spandrel panels on the tower that used mosaic tiles in twenty-three different shades. A large illuminated rooftop "Southern Cross" sign was attached to the front and back of the two-storey screen wall that hid the services on the roof.

The plan of the Villa Mairea is a modified L-shape of the kind Aalto had used before. It is a layout which automatically created a semi- private enclosure to one side, and a more exclusive, formal edge to confront the public world on the other. The lawn and the swimming pool are situated in the angle of the L, with a variety of rooms overlooking them. Horizontals and overhangs in the main composition echo the ground plane, and the curved pool weds the nearby forest topography.

Pipe and Drape refers to pipe (aluminum or steel), fixed or adjustable telescoping vertical uprights supported by a weighted steel base, and adjustable telescopic or fixed horizontals that provide a drape support frame with removable drape panels. Pipe and Drape is used to divide, hide, and/or decorate a space temporarily. When the system is used for exhibition purposes and used instead of the traditional shell scheme option build time and breakdown time is significantly reduced. Pipe and drape is a great way of adding colour to what would normally be a relatively plain backdrop.

This striking block of flats at 51 Ormond Esplanade was constructed in 1939, and like Windermere employs a complexity of horizontals and verticals, but uses only rectilinear elements, including long horizontal windows, some wrapping around corners, reminiscent of European modernist design. The triple fronted façade is composed of a north and south wing and a projected central portion featuring a large brick chimney giving the building a strong vertical element. In 2018 St Kiernan's was completely facaded, leaving only the main exterior walls, and new flats with different arrangements built behind.

The building is roughly triangular, with two main façades and a semicircular chamfer at the corner where they meet, between Via Laietana and Carrer Argenteria in Barcelona. The building is articulated by the vertical lines of the doors and windows, interrupted discontinuously by the horizontals of the balconies. The most characteristic visual feature is the large circular structure in the style of a classical temple, atop the building at its apex. The building falls within the functionalist style that began to prevail at the time for administrative buildings.

There were ailerons on both upper and lower wings. The Racer was powered by a water-cooled, X-24 cylinder Packard X-2775 loaned by the US Navy, a new design based on pair of V-12s with a common crankshaft. Carefully streamlined within a contour-following cowling, it was cooled by surface radiators on the wings formed from inverted (on the upper surfaces) T-section tubes running chordwise, their horizontals acting as the surface with the verticals projecting above. Together with similar oil cooling radiators, they covered almost the entire wing surface.

In addition to her film stills, Sherman has appropriated a number of other visual forms—the centerfold, fashion photograph, historical portrait, and soft-core sex image. These and other series, like the 1980s Fairy Tales and Disasters sequence, were shown for the first time at the Metro Pictures Gallery in New York City. It was with her series Rear Screen Projections, 1980, that Sherman switched from black-and-white to color and to clearly larger formats. Centerfolds/Horizontals, 1981, are inspired by the center spreads in fashion and pornographic magazines.

The building of the Faculty of Law in Belgrade was built from 1936 to 1940 by the architect Petar Bajalović, with the assistance and development of the project by the architect Professor Petar Anagnosti. The base of the building is in the shape of a rounded triangle with an emphasized main foyer on the corner. It was made in modernist style with flat facades without ornamental design, emphasized only by the horizontals of shallow cornices under the windows. The avant-corpses on the street highlight the verticals in the form of inter- window flat pilasters.

The Eurasia Continental Bridge passageway () is a high-speed rail corridor connecting Lianyungang, a port in northern Jiangsu province, to Ürümqi, the regional capital of Xinjiang. The corridor passes through the cities of Xuzhou (Jiangsu), Zhengzhou (Henan), Xi'an (Shaanxi), Lanzhou (Gansu), and Xining (Qinghai) en route. Announced in 2016 as part of the "eight verticals and eight horizontals" railway network plan, the rail corridor is an extension of the existing Xuzhou–Lanzhou high-speed railway. The railway may be considered to be part of the New Eurasian Land Bridge.

These removed the need for many of the wing bracing wires and for the triangular pylon of the Zögling to which they were attached. The forward fuselage frame consisted of two, parallel horizontal members, one above the other. They were connected by a vertical pair of members and two diagonal ones, attached at two points on the lower frame and three on the upper. The rear vertical member was lighter than the forward three uprights, which formed a distorted N; together with the parallel horizontals, this core frame formed a cross braced trapezium.

At the centre of the square's long sides, Hardouin-Mansart's range of Corinthian pilasters breaks forward under a pediment, to create palace-like fronts. The arcading of the formally rusticated ground floors does not provide an arcaded passageway as at place des Vosges. The architectural linking of the windows from one floor to the next, and the increasing arch of their windowheads, provide an upward spring to the horizontals formed by ranks of windows. Originally the square was accessible by a single street and preserved an aristocratic quiet, except when the annual fair was held there.

Another method of hanging drape is using a theatrical tie-on method. Drape tie methods used may be a standard grommet and tie, where the tie and grommet hole are visible unless a clove hitch is used, and once tied, the drape ties must be rolled to hide the ties from the audience side of the drape. Blind ties are another drape top finish that allows for drapes to be tied to a pipe without the audience seeing the grommets and ties. Just like uprights and horizontals, drape panels come in any number of heights, widths, colors, and types of fabric.

Centaur, based on 1470s Venetian printing. The narrowest part of the stroke is at top left/bottom right, so the axis is diagonal. Throughout the development of the modern Latin alphabet with an upper-case based on Roman square capitals and lower-case based on handwriting, it has been the norm for the vertical lines to generally be slightly thicker than the horizontals. Early 'roman' or 'antiqua' type followed this model, often placing the thinnest point of letters at an angle and downstrokes heavier than upstrokes, mimicking the writing of a right-handed writer holding a quill pen.

The Beijing–Harbin high-speed railway () is a partly operational high-speed railway corridor, announced in 2008 as part of the "Four Verticals and Four Horizontals" master railway network plan. It is part of the CRH's system of passenger dedicated lines, connecting Beijing Chaoyang railway station in Beijing and Harbin railway station in Harbin. The line is part of the Harbin–Hong Kong (Macau) passageway, and is long. It is partly operational, and comprises the sections: Harbin–Dalian high-speed railway (operational), the Beijing–Shenyang high-speed railway (under construction), and the Panjin–Yingkou high-speed railway (operational).

Both of the signs in EA 325 are identical, and are more 'angular'-(non-parallel horizontals) than rectangular. On the other hand, gáb is rectangular, but shorter than DAGAL, and has other syllabic uses. Gáb and DAGAL are easily identified by the 2-small-vertical strokes, located at the cuneiform sign – left, and are at various angles other than vertical (angled opposite, downward, to-the-left). The components (pictured as An, An (cuneiform)) at both sign's right, are less easily discernible, or are ligatured with the tall vertical stroke, that anchors the right side of the cuneiform sign.

The Master of IT in Business (MITB) is a master's degree emphasizing on the application of information technology to create business impact and value. The MITB degree originated in the early 21st century as the digital transformation of businesses took place leaving industries to compete with each other on their technological capacity and advancement. The MITB is typically a sandwich course of two distinct horizontals targeted at providing a holistic view and understanding of both technology and management alike. The MITB offers a more specialized and niche course selection for technology and business education aspirants alike.

Mesopotamian kudurru at the British Museum. In the Amarna letters, EA 205, EA 364, etc., (see here , for a medium resolution, line 3 ARAD-ka a-na, EA 364) an alternate form of na, replaces the left side of the sign with: 2-horizontals 100x24px, and a small 100x15px wedge above, with the vertical anchoring the right, 15x19px-100x24px. For Marduk-nadin-ahhe's kudurru at the British Museum, na is constructed approximately as follows: 1-horizontal lies at the sign's left 100x24px, followed by a large wedge, then the vertical, resulting in a sign approximately as follows: 20x24px70x24px100x42px.

Korman's next paintings—exhibited in 2012—were geometrically divided by diagonals, horizontals and verticals, the shapes then filled with unadulterated color, forming unexpected patterns and configurations. Deadpan compositions of triangles within grids of rectangles, they exposed intrinsic qualities of hue, brightness and transparency through color juxtapositions (e.g., Quadrant, 2012; Focus, 2011); artcritical's Deven Golden described them as purely objective works with luminous, subtly fluctuating surfaces and patterns that resembled a child's geometric coloring book. In her next two exhibitions, Korman contemplated a basic problem—the division of a painting surface—finding freedom within the limitations of largely fixed, simple formats.

The difference in the construction of the signs ka and ša are as follows: "ka" when scribed in the Amarna letters often shows the distinctiveness of the right section of the sign, versus the left section. For ša, the right section is constructed with two wedge strokes 100x24px (one scribed above the other), between the two verticals, at right. For ka, the right side mostly, in the Amarna letters has two verticals, 100x24px100x24px with two horizontals 100x24px that cross both of them; (the right side is like a two-step ladder shape--(for Hittite ka:--100x24px)).

His low-necked shirt or chemise is of fine linen, gathered and trimmed with a band of gold braid or embroidery, and worn under an open-fronted doublet and a cloak tied over one shoulder. His white jacket has black lining under a white pleated shirt of which the verticals match the horizontals of his headdress. His fingers are crossed, hidden inside silk gloves, an unusual pose for Dürer's early career; he always paid close attention in detailing the hands of his sitters who are usually showing holding an object; examples include a pillow, rosary, sheet of paper and flower.Waetzoldt, Wilhelm.

The earliest fencing along the Dalhousie Street frontage was simply a one-rail wooden fence, shown in a sketch in 1892. By 1905 this had been replaced by a two-rail wooden fence in front of the church and schoolhall, but continuing to the south with a fence of vertical slabs between two horizontals, In 1909 the wooden fencing along the church frontage was replaced with a more handsome stone wall, 60 cm (2 feet) high, surmounted by cast-iron railings 75 cm (2W') high. The new entrance, curving in from the street alignment, had stone pillars on both sides. The north gate-post was inaugurated with a stone inscription.

Zhou Shuoyi, described as the only male to have mastered the script, compiled a dictionary listing 1,800 variant characters and allographs. It has been suggested that Nüshu characters appear to be italic variant forms of Kaishu Chinese characters, as can be seen in the name of the script, though some have been substantially modified to better fit embroidery patterns. The strokes of the characters are in the form of dots, horizontals, virgules, and arcs. The script is traditionally written in vertical columns running from right to left, but in modern contexts it may be written in horizontal lines from left to right, just like modern-day Chinese.

The Amarna Letters. EA 365, Justified War, p. 362. line 3 (2nd sign for ka): "Servant-yours, at...", "ARAD-ka, a-na...."Rainey, 1970. El Amarna Tablets, 359-379, Anson F. Rainey, (AOAT 8, Alter Orient Altes Testament 8 (Note: the 2 horizontals at the right side of "ka", are barely visible, compared to the 2 well-scribed verticals) (high resolution exandable photo) The cuneiform ka sign is a common, multi-use sign, a syllabic for ka, and an alphabetic sign used for k, or a; it is common in both the Epic of Gilgamesh over hundreds of years, and the 1350 BC Amarna letters.

Clark was interested in colour and still life, to which Petrov-Vodkin brought his theories of space, and studied his way of depicting a visual perspective that was not an artificial architectural construction. It was from Petrov-Vodkin that Clark learned the technique of spherical perspective in which figures and objects are distorted from their perpendicular axis to produce dynamic moment. In years to come, Clark drew on her teacher's concept of tilting the usual verticals and horizontals, she employs this technique in her 1947 painting Essentials of Life. Petrov-Vodkin passed on to Clarke his knowledge of Cézanne's techniques in utilizing the shifting axes in a picture.

They featured dynamic plans, emphasised by projecting intersecting wings or bays with expressed, overhanging gable or flat roofs, dramatic cantilevers, strong horizontals with occasional verticals, off-centre supports, expressed structure, butt-jointed corner windows, and integration with the landscape. Many can be found on the Peninsula, as well as many dotted around the 1950s and 60s suburbs and area of Melbourne, especially the Bayside suburbs. They are said to have designed (if not built) over 1000 houses in their career. Their houses of the late 1960s onwards were often larger, and evolved into brown brick, skillion roofed compositions, more ground hugging, and more in tune with the 'environmental' designs of their contemporaries.

There are other sub-uses of ni (see Epic of Gilgamesh usage below). It is also found in some Amarna letters, EA 9, and EA 252, for example where ni or lí is scribed in a "flourish" format (an over-lengthened version of the 2-horizontals that construct the sign), similar to tab, 100x24px. In EA 9 especially, there is a 'scribe margin line', both left and right on the clay tablet obverse. For the right margin, some words in the lower paragraphs of the obverse (Para 4-7), some words ending with ni/lí, have the sign lengthened, and sitting upon the right margin line-(the cuneiform text, in EA 9, reads: left-to-right).

Sixteen major rail corridors consisting of eight running north–south, called verticals, eight running east–west, called horizontals, connect 81 major cities.(Chinese) 江世杰, 鐵路強化八縱八橫, 《人民日報》 2001-01-11 The 16 mainlines were designated in January 2001, when some of the lines were still unbuilt. At that time, the existing mainlines accounted 43% of the railroads in the country but carried 80% of the passengers. The last of the vertical mainlines was completed in 2009 and the last horizontal line opened in 2010.(Chinese) 中国“八纵”中最后一“纵”洛湛铁路正式开通 China.

Centaur, a humanist typeface Humanist, humanistic, or humanes include the first Roman typefaces created during the 15th century by Venetian printers, such as Nicolas Jenson (hence another name for these, Venetian). These typefaces sought to imitate the formal hands found in the humanistic (renaissance) manuscripts of the time (humanist minuscule). These typefaces, rather round in opposition to the gothics of the Middle Ages, are characterized by short and thick bracketed serifs, a slanted cross stroke on the lowercase 'e', ascenders with slanted serifs, and a low contrast between horizontals and verticals. These typefaces are inspired in particular by the Carolingian minuscule, imposed by Charlemagne during his reign of the Holy Roman Empire.

Franklin Gorge or just Franklin or Cranklin Gorge is a small sport climbing area near Spruce Knob-Seneca Rocks National Recreation Area located near Franklin, WV. This rock climbing spot was first discovered and developed by John Burcham and friends during the early-mid 90s. The site contains mostly sport and top rope climbing as well as some traditional climbing, and is located on private land. The rock is layered sandstone and some limestone which create horizontals, and the site has pockets and huecos for the majority of the holds. This site is the first place many Mid-Atlantic climbers cut their teeth on bolted rock climbing routes before going on to challenge the New River Gorge.

Window blinds can be maneuvered with either a manual or remote control by rotating them from an open position, with slats spaced out, to a closed position where slats overlap and block out most of the light. There are also several types of window coverings, called shades, that use a single piece of soft material instead of slats. The term window blinds can also be used to describe window coverings generically—in this context window blinds include almost every type of window covering, whether it is a hard or soft material; i.e. shutters, roller shades, cellular shades (also called honeycomb shades), wood blinds (also called 2 inch horizontals), Roman shades and standard vertical and horizontal blinds (also called Venetians).

A founding member of The Actors Space, Inc. in New York, Maculan appeared in their revival of A Hatful of Rain and an earned critical acclaim for his work in Found a Peanut – a show that would launch his career in television when it was remounted in Los Angeles. Maculan created the role of Ezra Twain in the world premiere of Diva at the La Jolla Playhouse in San Diego, California, worked in a national tour of Beauty and the Beast as Cogsworth, a production of South Pacific for the North Carolina Theatre of Raleigh, North Carolina. Maculan starred in Gary Garrison’s collection of plays, Verticals and Horizontals at the Cherry Lane Theatre in New York City.

In addition, these typefaces had a strictly vertical stress: without exception, the vertical lines were thicker than the horizontals, creating a much more geometric and modular design. A major development of the early nineteenth century was the arrival of the printed poster and increasing use of printing for publicity and advertising material. This presumably caused a desire to make eye-catching new types of letters available for printing. Typefaces clearly intended for poster use began to appear in London in the second half of the eighteenth century, introduced by the typefounders William Caslon II and Thomas Cottrell, although casting large metal type in sand for book titles was used for centuries before that.

With the help of his mother and his father-in- law as clients, he began designing apartment blocks, especially in the Elwood area, eventually completing perhaps about 18 in that suburb alone. His early output was prolific, including houses, flats and maisonettes in Brighton, Caulfield, Armadale, Malvern, Kew and Middle Park, and his own house (demolished) in Sandringham. His early designs were occasionally Tudor Revival, but he also developed his own distinctive style, that combined Arts & Crafts and Prairie Style influences, employing panels of horizontal banded tapestry bricks and his own unique angular balusters. Starting with Windermere in 1936, many of his designs were strikingly Moderne; they featured dynamic compositions of contrasting horizontals and verticals, often with thrusting semi-circular ended balconies or window bays.

Jan Middendorp, Dutch Type, 010 Publishers, Rotterdam (2004), p. 120. Since his letter shapes only contain horizontals and verticals, some of the glyphs are unconventional, while others bear virtually no resemblance to any version of the letters they represent (in some examples, the frequently appearing a glyph looks like a J, K looks like a t, numeral 1 resembles a 7, numeral 8 resembles capital H, and the x glyph looks like a capital I). Because of this, the typeface was received with mixed feelings by his peers. Most of the letters are based on a grid of 5 by 7 units, with 45-degree corners. Each glyph is represented by two or more sides of a square, with ascenders, descenders or tittles added where necessary.

"Götz, page 134 The same kind of misunderstanding exists about the glass façade of the building that many writers describe as a curtain wall similar to the one Gropius used for the Bauhaus Dessau building. Götz describes it like this: > "The window openings were intrados frames composed of L beams; the internal > membering with horizontal and vertical muntins was differentiated in that > all the verticals appeared more slender on the outside, while the > horizontals appeared wider. These fames were, however, only floor-to-floor > height, screwed to the building on four sides; one string course that > reached across the three floors consisted, in fact, of three different > sections. Along the side of the building, 3-millimetre-thick steel plates > sealed the wedge between window frame and piers.

The difference in the construction of the signs ka and ša are as follows: "ka" when scribed in the Amarna letters often shows the distinctiveness of the right section of the sign, versus the left section. For ša, the right section is constructed with two wedge strokes 100x24px (one scribed above the other), between the two verticals, at right. For ka, the right side mostly, in the Amarna letters has two verticals, 100x24px100x24px with two horizontals 100x24px that cross both of them; (the right side is like a two-step ladder shape--(for Hittite ka:--100x24px)). A good example of ša, is shown for EA 365, Reverse (top half), where the 2-wedge strokes of ša between the 2-right verticals is clear.

At the 1958 exhibition her paintings offered "abstract intimations of nature ... This perception was reinforced by Fine's inclusion in "Nature in Abstraction: The Relation of Abstract Painting and sculpture to nature and twentieth century American art. The 1960s marked her re-entry into a profoundly changed New York art scene, she encountered more galleries and new art styles. "Fine had 4 solo shows at the Graham Gallery (1961, 1963, 1964, 1967) with a major shift in her style, with a reintroduction of horizontals and verticals, announced Fine's intention to convey ... 'an emotion about color'." Fine began to teach in 1961, as a visiting critic and lecturer at Cornell Universitywhich was when Hofstra University approached her with an offer which is where she taught privately from 1962-73.

The Pennsylvania Avenue NW building was designed by British Columbia's Arthur Erickson, recognized as one of Canada's most decorated architects. Erickson tried to evoke a sense of Canada in the architecture of the building, using long horizontals, wide open spaces and water features. The large airy courtyard includes the sculpture Spirit of Haida Gwaii by Bill Reid, featured on Canada's twenty-dollar bill from 2004 to 2012, which sits in a pool of water representative of Canada's ocean limits. The "Rotunda of the Provinces" on the courtyard's southeast corner has a domed roof that is supported by 12 pillars, each featuring one of the crests of the ten provinces and two territories in existence at the time of the embassy's construction.

The difference in the construction of the signs ka and ša are as follows: "ka" when scribed in the Amarna letters often shows the distinctiveness of the right section of the sign, versus the left section. For ša, the right section is constructed with two wedge strokes 100x24px (one scribed above the other), between the two verticals, at right. For ka, the right side mostly, in the Amarna letters has two verticals, 100x24px100x24px with two horizontals 100x24px that cross both of them; (the right side is like a two-step ladder shape—(for Hittite ka:—100x24px)). A good example of ša, is shown for EA 365, Reverse (top half), where the 2-wedge strokes of ša between the 2-right verticals is clear.

Cuneiform sign for ab, ap; in the Epic of Gilgamesh, a sumerogram usage for AB, Akkadian "elder", '''' Mesopotamian tablet for Sin-Kashid. Line 3, second character, ab. (Note that the second pair of horizontals angle up, and down, to the large vertical stroke anchoring the right of the "ab" sign.) The cuneiform sign for the syllable ab also represents that for ap, or the vowel and consonant usages of a, b, or p: in the Akkadian language "b" is unaspirated, formed with the lips, and "p" is aspirated, with the breath). In the Akkadian language "b" and "p" are interchangeable; also, in cuneiform texts, any vowel (a, e, i or u: there is no "o" in Akkadian) can be interchanged with any other.

Caravaggio's patron Vincenzo Giustiniani was an intellectual as well as a collector, and late in life he wrote a paper about art in which he identified twelve grades of accomplishment. In the highest class he named just two artists, Caravaggio and Annibale Carracci, as those capable of combining realism and style in the most accomplished manner. This Crowning with Thorns illustrates what Giustiniani meant: the cruelty of the two torturers hammering home the thorns is depicted as acutely observed reality, as is the bored slouch of the official leaning on the rail as he oversees the death of God; meanwhile Christ is suffering real pain with patient endurance; all depicted within a classical composition of contrasting and intersecting horizontals and diagonals. The theme of pain and sadism is central to the work.

Art historians interpret the growing popularity of the architectural piece in 17th century Italy as the result of a shift of patronage from 'committente' to 'acquirente', that is, from painting on commission to painting on the open market. Architectural canvases were particularly welcome within the typical 17th-century decorative ensemble, where walls were completely covered with paintings of various types and sizes. The architectural piece lent variety to such ensembles by introducing the strong verticals and horizontals of its subject matter. The roots of this type of vedute can be found in 16th-century painting, and in particular in the architectural settings that were painted as the framework of large-scale frescoes and ceiling decorations known as quadratura. These architectural elements gained prominence in 17th-century painting to become stand-alone subjects of easel paintings.

This type of decorative architectural paintings are a form that became popular in mid-17th-century Rome.Alessandro Salucci (Florence 1590–1655/60 Rome) and Jan Miel (Beveren-Waes 1599–1664 Turin), An architectural capriccio with an ionic portico, a fountain, a two story loggia, a Gothic palace and figures on a quay at Christie's Art historians interpret the growing popularity of the architectural piece in 17th century Italy as the result of a shift of patronage from 'committente' to 'acquirente', that is, from painting on commission to painting on the open market. Architectural canvases were particularly welcome within the typical 17th-century decorative ensemble, where walls were completely covered with paintings of various types and sizes. The architectural piece lent variety to such ensembles by introducing the strong verticals and horizontals of its subject matter.

Even the soft mauves, pinks, and greens contribute to this effect. Countering the strong horizontals are the drooping red tendrils of the bare pine branches, the vertical lines of the trees, and the curves of the hills ... [Thomson] achieves pure poetry in painting, by combining an intuitive feeling for nature with an almost classical control of technique."Quoted in Reid, p. 27 A year later, Jean Boggs proposed that Thomson was influenced by the European Symbolists: "against the dying light and sky the scraggly forms of The Jack Pine are most dramatic, its branches struggling to life but dominated by dark-green, tattered, bat-like forms as if the tree were a symbol – beautiful, oriental, but a symbol nevertheless of Thomson's wish for his own death on this spot.

Johnston (upper) and Gill Sans (lower), showing some of the most distinctive differences. In the regular or roman style of Gill Sans, some letters were simplified from Johnston, with diamond dots becoming round (rectangles in the later light weight) and the lower-case "L" becoming a simple line, but the "a" became more complex with a curving tail in most versions and sizes. In addition, the design was simply refined in general, for example by making the horizontals slightly narrower than verticals so that they do not appear unbalanced, a standard technique in font design which Johnston had not used. The "R" with its widely splayed leg is Gill's preferred design, unlike that of Johnston; historian James Mosley has suggested that this may be inspired by an Italian Renaissance carving in the Victoria and Albert Museum in London.

The modern concept of text faces having companion bold fonts did not exist, although some titling capitals were quite bold; if a bolder effect was intended blackletter might be used. From the arrival of roman type around 1475 to the late eighteenth century, relatively little development in letter design took place, as most fonts of the period were intended for body text, and they stayed relatively similar in design, generally ignoring local styles of lettering or newer "pointed-pen" styles of calligraphy. Starting in the eighteenth century, typefounders developed what are now called transitional and then Didone types. These typefaces had daringly slender horizontals and serif details, catching up to the steely calligraphy and copperplate engraving styles of the period, that could show off the increasingly high quality of paper and printing technology of the period.

She first exhibited a series of black paintings in New York in 1978. In hand written notes on her work in 1983, Edwards explained that, for her, black "is essential for directing the viewer...into a spiritual dimension, acknowledging the hidden mysterious nature of the eternal". Edwards noted that a black surface attuned the viewer to strive to glimpse subtleties of forms, some of which gave an illusion of depth (with some planes receding and others approaching the viewer), an illusion which could be related psychologically to the experience of varying levels of human consciousness: "If the painter achieves sufficient depth in the process of painting an experience of passing through an open door into a feeling of oneness or unity or complete freedom is attained". Then, in Edwards' work of the early 1980s, strong verticals and horizontals appeared across textured canvases.

He had just published Le Néo- Plasticisme—a collection of writings by Mondrian—and Theo van Doesburg's Classique-Baroque-Moderne. Csaky's showed a series of works at Rosenberg's gallery in December 1920. For the following three years, Rosenberg purchased Csaky's entire artistic production. In 1921 Rosenberg organized an exhibit entitled Les maîtres du Cubisme, a group show that featured works by Csaky, Albert Gleizes, Metzinger, Mondrian, Gris, Léger, Picasso, Laurens, Georges Braque, Auguste Herbin, Gino Severini, Georges Valmier, Amédée Ozenfant and Léopold Survage. Csaky's works of the early 1920s reflect a collective spirit of the time,Joseph Csaky, 1920 Figure (Woman), Action: Cahiers Individualistes de Philosophie et d’art, Volume 1, Number 6, December 1920 > "a puritanical denial of sensuousness that reduced the cubist vocabulary to > rectangles, verticals, horizontals," writes Balas, "a Spartan alliance of > discipline and strength" to which Csaky adhered in his Tower Figures.

Since this is one of the rare fables without human or animal characters, the subject has been a gift to artists and illustrators. From the earliest printed editions, the makers of woodcuts have taken pleasure in contrasting diagonals with the verticals and horizontals of the picture space, as well as the textures of the pliable reed and the sturdy tree trunk. Among 16th century emblem-makers there was even a prescription for how the scene should be presented. According to Hadrianus Junius (1565), ‘The way the picture should be drawn is straightforward: in it, one of the winds is blowing with puffed- out cheeks, breaking up the huge trees in its way, pulling them up, uprooting them and flinging them around; but a patch of reeds survives unscathed.’ Other contemporary examples of this approach are in Bernard Salomon's illustration in Les Fables d'Esope Phrygien (1554, see above) and the Latin poems of Hieronymus Osius (1564).

He had just published Le Néo-Plasticisme—a collection of writings by Mondrian—and Theo van Doesburg's Classique-Baroque-Moderne. Csaky's showed a series of works at Rosenberg's gallery in December 1920. Jacques Lipchitz, 1918, Instruments de musique (Still Life), bas relief, stone For the following three years, Rosenberg purchased Csaky's entire artistic production. In 1921 Rosenberg organized an exhibit titled Les maîtres du Cubisme, a group show that featured works by Csaky, Gleizes, Metzinger, Mondrian, Gris, Léger, Picasso, Laurens, Braque, Herbin, Severini, Valmier, Ozenfant and Survage. Csaky's works of the early 1920s reflect a distinct form of Crystal Cubism, and were produced in a wide variety of materials, including marble, onyx and rock crystal. They reflect a collective spirit of the time, "a puritanical denial of sensuousness that reduced the cubist vocabulary to rectangles, verticals, horizontals," writes Balas, "a Spartan alliance of discipline and strength" to which Csaky adhered in his Tower Figures.

Martin, 176 Wittkower sees in it "a heroic and aristocratic conception of Nature tamed and ennobled by the presence of man", as such works always contain a large man-made feature, here the castle "severely composed of horizontals and verticals" under which the party moves. They are placed at the meeting of two diagonals represented by the sheep and the river, "thus figures and buildings are intimately blended with the carefully arranged pattern of the landscape".Wittkower, 70 Kenneth Clark mentions the work as an example of the "ideal landscape" driven to promote itself in the hierarchy of genres by emulating (in the absence of much evidence of what classical landscape painting was like) an essentially literary vision, largely derived from the pastoral poems of Virgil: "the features of which it is composed must be chosen from nature, as poetic diction is chosen from ordinary speech, for their elegance, their ancient associations, and their faculty of harmonious combination. Ut pictura poesis".