Some convey no apparent social concern, such as the beautiful, large sculptural constructions, derived from details of dress design or interior décor (peplum, jabot, lambrequin) by Diane Simpson, a veteran Chicago artist.
|
|
Aside from the pavilions, the rest of the courtyard's perimeter was lined with a gallery featuring "lambrequin" or "muqarnas"-profiled arches similar to those seen in the Court of the Lions and in other Moroccan Architecture.
|
|
Polychrome style rayonnant lambrequin decoration, with a chinoiserie central scene. Made c. 1710, this is an early example in all these respects; 23.97 cm. In 1644, Nicolas Poirel, sieur (lord) of Grandval, obtained a fifty-year royal monopoly over the production of faience in Normandy.
|
|
The upper deck, also flanked by pedestrian walkways protected by cast iron guards (similar to the lower deck), was also asphalt-paved until converted to carry light rail trains of the Porto Metro in the mid-2000s. From this deck are lamps used for illumination, confronting and connected, forming decorative circles at the angles. Under the guard is cut-out-like lambrequin decorated with phytomorphic elements.
|
|
Also the lambrequin, or mantling, that depends from the helmet and frames the shield in modern heraldry, began as a practical covering for the helmet and the back of the neck during the Crusades, serving much the same function as the surcoat. Its slashed or scalloped edge, today rendered as billowing flourishes, is thought to have originated from hard wearing in the field, or as a means of deadening a sword blow and perhaps entangling the attacker's weapon.Fox-Davies, A Complete Guide to Heraldry, pp. 17–18, 383.
|
|
Rouen faience ewer, "helmet" shape with lambrequin painted decoration, c. 1720 The city of Rouen, Normandy has been a centre for the production of faience or tin-glazed earthenware pottery, since at least the 1540s. Unlike Nevers faience, where the earliest potters were immigrants from Italy, who at first continued to make wares in Italian maiolica styles with Italian methods, Rouen faience was essentially French in inspiration, though later influenced by East Asian porcelain. As at Nevers, a number of styles were developed and several were made at the same periods.
|
|
This was originally one of the enclosing screens of a Chantry, the other two, east and west, dividing it from the aisle having been removed. In the wall of the aisle opposite the tomb, is a two-storied piscina, which was formerly within the area of the Chantry, and against the east division doubtless stood the antient altar. The cover-stone of the tomb is Purbeck marble, and on it are the indents of a knight and lady, but not of large size. The knight's head appears to have rested on a helmet with lambrequin, and an animal was at his feet.
|
|
The pulpit, supported by two Corinthian pillars of wood, was surmounted by a crimson cushion and was quite an imposing structure. A high crimson curtain hung behind the pulpit arranged in a row of straight folds or "flutes", like the pipes of a great organ topped with a straight lambrequin of the same material. The pulpit had doors on either side, similar to those in the pews below, from which the minister entered. Opposite the pulpit in the gallery was the choir loft, this opened from a large room that was directly over the vestibule where the choir practiced, and instruments were tuned.
|
|
Some of the arches (around the mihrab, for example), are more elaborate polylobed and "lambrequin" (muqarnas-shaped) arches, all commonly found in Moorish architecture. Some of the pillars of the arches also feature small engaged columns with ornate capitals from the Almohad and Saadian periods. Additionally, in the outer aisles of the mosque (including the galleries around the courtyard) the wall-space around the arches is marked by bands and lines of stucco carved with geometric and arabesque patterns, very similar to those found in the Mouassine Mosque and Bab Doukkala Mosque from the Saadian period.
|
|
View of the north tower of the Dol-de- Bretagne cathedral Some have likened the north tower to a dungeon rather than the tower of a cathedral and it retains some parts of the original Romanesque tower. Construction of the tower started in 1520 during the episcopy of Mathurin de Plédran (1504-1521) but the tower was not completed due to a lack of funds. Only four stories were built plus the ground floor. The tower is supported by two large buttresses and each of its four floors is lit by two small windows with a frieze above carved in the manner of a lambrequin.
|
|
These in turn came to be decorated with fan-shaped or sculptural crests, often incorporating elements from the shield of arms; as well as a wreath or torse, or sometimes a coronet, from which depended the lambrequin or mantling. To these elements, modern heraldry often adds a motto displayed on a ribbon, typically below the shield. The helmet is borne of right, and forms no part of a grant of arms; it may be assumed without authority by anyone entitled to bear arms, together with mantling and whatever motto the armiger may desire. The crest, however, together with the torse or coronet from which it arises, must be granted or confirmed by the relevant heraldic authority.
|
|
McNab, 22 Before the end of the century Rouen faience, apparently led by Louis Poterat (d. 1696), had developed the lambrequin style of decoration, a "baroque scalloped border pattern",Savage & Newman, 174 with "pendant lacework ornament, drapes and scrollwork",Savage (1959), 145 (quoted) adapted from ornamental styles used in other types of decorative art, including book-bindings, lace and metalwork, and printed versions of them in design-books. Typically large and small elements alternate. This remained a key style, a "virtual trademark" for Rouen,Moon well into the next century, and was often copied in other faience centres, including some outside France, and porcelain factories such as Rouen and Saint-Cloud porcelain.
|
|
In 1859 Swoboda left the Carltheater to become a leading tenor and dramatic actor at the Theater an der Wien. He remained committed to that theatre for the next 14 years, and afterwards appeared as a guest artist. He drew acclaim in the operetta repertoire, and notably sang in numerous world premieres at that house; including Karl in Suppé's Das Pensionat (1860), Janio in Strauss's Indigo und die vierzig Räuber, Lambrequin in Offenbach's Der schwarze Korsar (1872), Arthur Bryk in Strauss's Der Karneval in Rom (1873), and Helmut Forst in Strauss's Blindekuh (1878). Other roles in his repertoire included Pâris in La belle Hélène, Piquillo in La Périchole, and the title role in Orpheus in the Underworld.
|
|
3 It also turned out that the sable field of the shield was painted over a blue (azure) layer. The original coats of arms -- “Azure, a wolf salient argent” -- are in fact those of Sir John Donne, as they appear on a triptych painted for him by Hans Memling (National Gallery, London, inv. NG 6275); The crest above the coats of arms on fol. 100v, the lambrequin of which was originally blue and also overpainted in black, consists of a helmet surmounted by a knot of five snakes. John Donne’s son, Edward, used this type of crest, which also led Lorne Campbell to assume that the son had inherited it from his father.
|
|
At least two distinctive features of heraldry are generally accepted as products of the crusaders: the surcoat, an outer garment worn over the armor to protect the wearer from the heat of the sun, was often decorated with the same devices that appeared on a knight's shield. It is from this garment that the phrase "coat of arms" is derived. Also the lambrequin, or mantling, that depends from the helmet and frames the shield in modern heraldry, began as a practical covering for the helmet and the back of the neck during the Crusades, serving much the same function as the surcoat. Its slashed or scalloped edge, today rendered as billowing flourishes, is thought to have originated from hard wearing in the field, or as a means of deadening a sword blow and perhaps entangling the attacker's weapon.
|
|
Mantling, purpure doubled or Gutkeled clan. In heraldry, mantling or "lambrequin" (its name in French) is drapery tied to the helmet above the shield. In paper heraldry it is a depiction of the protective cloth covering (often of linenEncyclopædia Britannica - Mantling) worn by knights from their helmets to stave off the elements, and, secondarily, to decrease the effects of sword-blows against the helmet in battle, from which it is usually shown tattered or cut to shreds; less often it is shown as an intact drape, principally in those cases where clergy use a helmet and mantling (to symbolise that, despite the perhaps contradictory presence of the helmet, they have not been involved in combat), although this is usually the artist's discretion and done for decorative rather than symbolic reasons. Generally, mantling is blazoned mantled x, doubled [lined] y; the cloth has two sides, one of a colour and the other of a metal.
|
|
The mosque has three main entrances: one to the north, aligned with the major central axis of the building, which opens into the courtyard, and two symmetrical side entrances to the west and east that open to the north edge of the prayer hall. The outer portal of the entrances are often highlighted with more stucco decoration, while the space just inside each entrance is covered by a copula of muqarnas (stalactite-like sculpting). The central archway on the south side of the courtyard is covered in part by a wooden screen called the anaza which covers the entrance to the aisle leading to the central mihrab (niche symbolizing the direction of prayer) and also acts as an "auxiliary mihrab" for those carrying out their prayers in the courtyard. The transverse aisle running along the qibla (southeastern) wall is demarcated from the rest of the prayer hall by another row of arches running perpendicular to the others, while the arches next to the mihrab have a "lambrequin" profile (a dented and lobed outline common in Moroccan and Moorish architecture) with muqarnas-carved intrados.
|
|