Like Jacklin's British accent, it's a much more ornamental affair than the other bedtime stories, with delicate classical music playing in the background.
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Most of the armor on display was crafted during the peaceful 18th and 19th centuries, however, and these pieces tend to be more ornamental.
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But the more ornamental markers of Vindman's distinguished career in the armed forces, from his rank to his decision to wear his Army service uniform, also featured prominently in the National Security Council staffer's testimony — occasionally becoming political lightning rods in a contentious televised session.
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After the Song Dynasty, brackets and bracket sets became more ornamental than structural when used in palatial structures and important religious buildings, no longer the traditional dougong.
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The painting was designed to be used as a parade shield. It differs from other parade shields in that it depicts a Biblical scene (David slaying Goliath) rather than a coat of arms, or a more ornamental design.
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Early designs were made from nylon while more recent designs have been made from aluminum. At the same time more ornamental versions have been produced. The devices have been targeted for removal by skateboarders resulting in attempts to make them tamper resistant.
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Holly was another hedge plant, useful because it quickly spread and self-seeded. Privet was also a convenient and fast-growing hedge. Over time, more ornamental and less utilitarian plants became popular cottage garden hedges, including laurel, lilac, snowberry, japonica, and others.
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Decorated hilt of a 4th or 3rd century BC falcata from Almedinilla, Córdoba (M.A.N., Madrid). In the early times of the tribes in Iberia, its use was more ornamental and liturgical than military. Highly decorated falcata have been found in tombs, for example the Falcata de Almedinilla.
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The vertical Phags- pa script is known as horyig ( hor-yig, "Mongolian letters"). A more ornamental version of the horyig style was used in the past to make personal seals. It is often found written vertically as opposed to horizontally. These styles are not fixed, and are not limited to those listed above.
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Huneker (1966), p. 261 James Friskin commented that the nocturne is "one of the simpler nocturnes" and is similar to the Nocturne in G minor, Op. 15, No. 3 in that it "has similar legato chord passages in the contrasting section" though this nocturne "has a more ornamental melodic line". Dubal also agreed that the nocturne is "of lesser importance."Dubal (2004), p.
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This is 10 months prior to the first reference to Spark's house in John Verge's ledger. It is possible that Spark may have had the earlier plan prepared independently, and engaged Verge to assist in making it "more ornamental". John Verge's ledger records details of the commission from "Plans" in 1831 to "Details for Pilasters front door of" shortly before completion in 1836.
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4-11 ISSN 1462-0426 She won a Steinberger Group Award in 1988 and the London Arts Individual Artist's Award in 1989. De Monchaux's work from the early 1990s was often characterised by the combination of red velvet and steel in simple and strong constructions, but later works have tended to move towards lighter colours and a more ornamental approach. De Monchaux was shortlisted for the Turner Prize in 1998.
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The street facades are designed in an imposing classical style. Giant Tuscan order colonnades are terminated in solid corners with banded rustication. The columns sit on a raised base, about a metre above the Flinders Street level, and carry a simple entablature surmounted by a more ornamental parapet with a central cartouche and panels of classical balusters. The name of the bank, flanked by circular motifs, is written in the frieze.
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Relief of the procession on the Arch of Titus The greatest symbol of the Flavian era is the Arch of Titus, dated between 81 and 90. The architecture is denser and heavier than the arches of the Augustan era, such as the Arch of Susa. This is a clear deviation from the traditional Hellenistic influence. Here for the first time in Rome the Ionic/Corinthian Composite order appears, a more ornamental style.
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Many records are sold from stock, but it is normal to place special orders for less common records. Stock is expensive, so only large city center stores can afford to have several copies of a record. While records are generally pressed on plain black vinyl, the album itself is given a much more ornamental appearance. This can include a solid color (other than black), splatter art, a marble look, or transparency (either tinged with a color or clear).
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A specific Islamic pattern is the mihrab pattern which defines the Prayer rug. A prayer rug is characterized by a niche at one end, representing the mihrab in every mosque, a directional point to direct the worshipper towards Mecca. The mihrab pattern in Turkish carpets is often modified and may consist of a single, double, or vertically or horizontally multiplied niche. Thus the niche pattern can range from a concrete, architectural to a more ornamental understanding of the design.
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A joiner is an artisan and tradesperson who builds things by joining pieces of wood, particularly lighter and more ornamental work than that done by a carpenter, including furniture and the "fittings" of a house, ship, etc."joiner, n. 2. a." Oxford English Dictionary. 2nd. ed. 2009. CD-rom. Joiners may work in a workshop, because the formation of various joints is made easier by the use of non-portable, powered machinery, or on job site.
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The building is a four-story, Art Deco- influenced Neoclassical building executed in limestone and brick with a granite base, green serpentine columns, and terracotta with polychrome accents. Characteristics of Neoclassical style include symmetry, smooth stone surfaces, and colonnades. Art Deco influences are apparent in polychrome (multicolored) ornamental details, low-relief geometrical designs, and decorative forms based on nature. The elevations facing Washington and Linden Avenues are bilaterally symmetrical with the more ornamental Washington Avenue facade facing Courthouse Square.
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Sometimes elements of neoclassical architecture are used in Chicago School skyscrapers. Many Chicago School skyscrapers contain the three parts of a classical column. The lowest floors functions as the base, the middle stories, usually with little ornamental detail, act as the shaft of the column, and the last floor or two, often capped with a cornice and often with more ornamental detail, represent the capital. Chicago School window grid The "Chicago window" originated in this school.
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The Fairlane and LTD received a major front and rear restyle in March 1995 (EA77 series in Ford-speak), coinciding with the EF Falcon, and remained on the same platform. The new NF Fairlanes and DF LTDs were longer and curvier, hiding their 1980s origins reasonably well. The exterior design was more ornamental compared to the relatively clean NAs to NCs. The Fairlane Sportsman reappeared for 1996, with the same formula as 1993, with the 4.0-L six.
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Inside Rome, few theatres have survived the centuries following their construction, providing little evidence about the specific theatres. Arausio, the theatre in modern-day Orange, France, is a good example of a classic Roman theatre, with an indented scaenae frons, reminiscent of Western Roman theatre designs, however missing the more ornamental structure. The Arausio is still standing today and, with its amazing structural acoustics and having had its seating reconstructed, can be seen to be a marvel of Roman architecture.
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The castle's location was ostensibly chosen to protect England's south coast from raids by the French. A landscape survey by the Royal Commission for Historic Monuments concluded that if this were the case, then Bodiam Castle was unusually sited, as it is far from the medieval coastline. Bodiam Castle was described as "an old soldier's dream house" in the 1960s, although its defences are now considered more ornamental than practical. The area surrounding Bodiam Castle was landscaped when the castle was built, to increase its aesthetic appeal.
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Fresco in the Third style, from Casa della Farnesina in Trastevere The Third style, or ornate style, was popular around 20–10 BC as a reaction to the austerity of the previous period. It leaves room for more figurative and colorful decoration, with an overall more ornamental feeling, and often presents great finesse in execution. This style is typically noted as simplistically elegant. Its main characteristic was a departure from illusionistic devices, although these (along with figural representation) later crept back into this style.
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For the cosplayers, the decision made the notion of lawsuits from copyright holders and official licensees more salient. It's possible that different parts of costumes may be subject to different levels of restriction where fair use and utility are not clear. It's possible the shape of a superhero's mask could be appraised as more ornamental than useful. Cosplay props which are not clothing at all might be even more easily restricted because they are not a necessary element of the costume's function as clothing.
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Spark probably built it as an investment property, as he only lived there for a brief period. The villa was under construction from 1831-5.State Library, 2002 His failure to occupy it symbolised Spark's financial decline, the collapse of the Bank of Australia and the depression of the 1840s. Spark sent a plan of his proposed house to the Colonial Secretary on 1 June 1830, explaining that the plan had been prepared for some time, but that he had wanted to make it more "ornamental".
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The Presentation of Her Portrait to Henry IV To fully appreciate and value this particular cycle piece and the collection as a whole, there is one historical principle to take into account. This painting was created on the cusp of the age of absolutism and, as such, one must remember royalty were considered above corporeal existence. So from birth, Marie would have led a life more ornamental than mortal. This painting of classical gods, along with allegorical personifications, aptly shows the viewer how fundamental this idea was.
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The three hermitages are single-nave, with chapel accessible from a triumphal arch. The small sacristies are directly connected to the chapel with baptismal fonts, with the one in the Hermitage of Nossa Senhora da Ajuda being more ornamental. While the three chapels/hermtiages have varying styles, the Hermitage of Nossa Senhora da Ajuda, still maintains many of the original Gothic-Manueline characteristics. The buildings are constructed of plastered masonry and painted white, with the corners, cornices, frames and decorative elements in exposed basalt.
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Other factors that influence their economic significance are their area and the demand for a particular crop. According to a 1991 article, the poor cultivate subsistence plants in their pekarangans with an emphasis on fruits and vegetables, while the rich tend to plant more ornamental plants and cash crops with higher economic value. An article from 2006 also concludes that the importance of commercial plants increases with owners' wealth. A study in Sriharjo, Yogyakarta Special Region, concludes that poorer pekarangan owners orient toward commercial uses while richer owners orient toward subsistence uses.
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Brendekilde is the first painter bringing the arts and crafts movement to Denmark when from about 1884 he designed and made integrated frames around his paintings, the frames being part of the paintings and their story. Some frames were symbolistic and others more ornamental. Many of his paintings are obviously related to those by Anna and Michael Ancher, P.S. Krøyer and the Swedish painters Carl Larsson and Anders Zorn. All of these displayed their paintings at the international exhibitions in Copenhagen 1888, Paris 1889, Munich 1891 and Chicago 1893.
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During her tenure, Lehzen had the support of George IV, William IV, and another of Victoria's uncles, Leopold I of Belgium, who all believed that she was vital to the princess' health, happiness, and continued resistance to Conroy's influence. The education Victoria received from Lehzen was rudimentary but solid. Contrary to the prevailing attitudes of the time, Lehzen, tutor Dr. George Davys, and others successfully encouraged Victoria to enjoy acquiring knowledge. Davys was put in charge of the "solid department of her studies", while Lehzen concentrated on the "more ornamental departments", such as dancing.
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The labels were attractively printed in light blue, showing a classical scene of two musicians wearing togas beside a stone column or altar, with the text details overprinted in red. The sleevenotes of the RMC were also printed in red, and after some experiments with a more ornamental sleeve, a uniform style of red lettering on a background of simulated wood-grain became the uniform sleeve design.See World Record Club 'Recorded Music Circle' (RMC) series publications, with dated sleevenotes in some cases. Once again the series mixed in-house and franchised recordings.
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Harle, 239–240; Hegewald Since then it has continued in use in Jain and some Hindu temples, and from the late 20th century has spread to temples built outside India by both the Jain diaspora and Hindus. Some buildings mix Māru-Gurjara elements with those of local temple styles and modern international ones. Generally, where there is elaborate carving, often still done by craftsmen from Gujarat or Rajasthan, this has more ornamental and decorative work than small figures. In particular the style is used in India and abroad by the Swaminarayan sect.
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Its most distinctive feature compared with other plainchant repertories is a significantly higher amount of stepwise motion, which gives Ambrosian melodies a smoother, almost undulating feel. In manuscripts with musical notation, the neume called the climacus dominates, contributing to the stepwise motion. More ornamental neumes such as the quilisma are nearly absent from the notated scores, although it is unclear whether this reflects actual performance practice, or is simply a consequence of the relatively late musical transcription. The Gregorian system of modes does not apply to Ambrosian chant.
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A four-storey masonry building with decorative street facades, glazed shop fronts at ground level and footpath awnings, it is a row or terrace type structure that was originally divided into three shops. The building is unusual in that each shop has two street frontages, and the southeast shop, although constructed at the same time as the rest of the building has more ornamental facades. A fine example of the commercial work of Brisbane architect John Beauchamp Nicholson, the place is important in contributing to our understanding of his work. The place is important because of its aesthetic significance.
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This display was often tied up with ideas of chivalry, which was evolving in this period from a practical military ethos into a more ornamental and honorific cult. Tournaments provided one focus of display and were also pursued enthusiastically by James V, proud of his membership of international orders of knighthood. During her brief personal rule Mary, Queen of Scots brought many of the elaborate court activities that she had grown up with at the French court, with balls, masques and celebrations, designed to illustrate the resurgence of the monarchy and to facilitate national unity.Thomas, "The Renaissance", pp. 192–3.
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The architectural plans were left to the Germans, who chose a functional Bauhaus-influenced design over the more ornamental Soviet style, triggering the first of many disputes between the German and Russian consultants on the project. The plans, where form follows function, called for large indoor spaces designed to let the maximum amount of natural light into the workplace. Arch-supported sections of the ceiling would curve upwards then fall diagonally along the high slanted banks or windows; this pattern would be repeated several times in the larger rooms, giving the roof its characteristic sawtooth-like appearance.
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Lord High Admiral Clinton in an arming doublet of 1562, showing the decorative points or laces with metal tips for securing armour. The modern aiguillette derives from the laces used to secure plates of armor together—the breast- and back- plates would be attached on one side with short loops of cord acting as a hinge, and on the other by a longer and more ornate tied one, to support the arm defences. The ensuing knots would hang down the shoulder. (As with combat boots, the longer the lace, the less the need to undo the entire lace.) As armour became more ornamental and less practical, so too did the ties.
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The mosque's main public entrance was on its northwest side, accessed from Place Lalla Aouda. Here, towards the eastern end of the square, are two gateways that lead to another small open square or courtyard which is identified as both a sahn (mosque courtyard) and a mechouar (ceremonial square typically found at the entrance of Moroccan royal palaces). This mechouar entrance to the mosque is a feature it shares with the Berrima Mosque in Marrakesh. The two gates on Place Lalla Aouda include a plain horseshoe-arch gateway in a slightly projecting portion of the ramparts, while to the left of this the second gateway has a more ornamental appearance.
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The species of fish usually sold as feeder fish are invariably some of the easiest fish for fishkeepers to rear and breed, such as common goldfish and guppies. Typically, these species are tolerant of overcrowding and have a high fecundity and rapid growth rate. This makes it easy for fish farmers, retailers, and hobbyists to maintain large populations of these fish that can be sold at a much more affordable price than the more ornamental fish that require better conditions. In some cases, species of predatory animals, typically large fish such as catfish and cichlids, but sometimes also animals such as freshwater turtles, are provided with feeder fish, because they accept them more readily than alternatives.
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Tuscan, Doric, Ionic, Corinthian and Composite, made in 1728, from Cyclopædia An order in architecture is a certain assemblage of parts subject to uniform established proportions, regulated by the office that each part has to perform. Coming down to the present from Ancient Greek and Ancient Roman civilization, the architectural orders are the styles of classical architecture, each distinguished by its proportions and characteristic profiles and details, and most readily recognizable by the type of column employed. The three orders of architecture—the Doric, Ionic, and Corinthian—originated in Greece. To these the Romans added, in practice if not in name, the Tuscan, which they made simpler than Doric, and the Composite, which was more ornamental than the Corinthian.
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The tower is exceptionally slender with only of gross floor area per floor, because of a zoning regulation limiting the total building floor area to twelve times the property area. Its façade is more ornamental than that of the average International style tower, with horizontal strips of glass curtain wall alternating with spandrels of various types of stone, including green slate that was quarried in Wales. The building was fully renovated in 1991, and the highly visible CIBC logo at the top was redesigned in 2004 and again in 2013. Inside, levels 15 and 29 are transfer floors; level 16 is a triple-height mechanical floor that is skipped in the floor numbering of the passenger elevators.
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At long and with an internal vault height of at the altar and at the crossing, Lewes Priory was the largest church in Sussex, being longer than Chichester Cathedral including its Lady Chapel, and is comparable in scale to the original form of Ely Cathedral or the surviving form of Lichfield Cathedral. Most churches in this era were built to simple designs, consisting of a nave and a chancel; others included a central tower or transepts and sometimes a western tower and aisle. Important churches in Sussex with features from the Saxo-Norman overlap include Sompting, Clayton and Bosham. By the 12th century, churches in Sussex were built less exaggeratedly tall in proportion and with more ornamental designs in the transitional style, as architecture moved from Norman towards Gothic.
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Fr Hyland was "the inspiration and the driving force" behind St Edmund's Church, which was "very much his own church". He chose the site and may have influenced the design. Local tradition claims that it was built on the side of a steep hill overlooking the town so that even its short spire would reach higher than the tall steeple of the parish church, St Peter and St Paul's, which stands on low ground by the river; and Frederick Walters ensured it would "make the most of its dramatic hillside site". Walters designed churches in various architectural styles and could work with large or small budgets, but his work in the present Diocese of Arundel and Brighton "suggests ... he was better at designing fairly plain buildings than more ornamental ones".
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The more ornamental examples had cane seats and ill- proportioned cane backs. From these forms was gradually developed the Chippendale chair, with its elaborately interlaced back, its graceful arms and square or cabriole legs, the latter terminating in the claw and ball or the pad foot. George Hepplewhite, Thomas Sheraton and Robert Adam all aimed at lightening the chair, which, even in the master hands of Thomas Chippendale, remained comparatively heavy. The endeavour succeeded, and the modern chair is everywhere comparatively slight. 18th-century chairs A reading of Molière, Jean François de Troy, about 1728 Informal, galante manners and a new half- reclining posture that replaced the former bolt-upright demeanor of court and aristocracy in the age of Louis XIV went hand-in-hand with new commodious seat furniture, developed in Paris about 1720 (illustration, right).
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The uncial hand lingered on, mainly for liturgical manuscripts, where a large and easily legible script was serviceable, as late as the 12th century, but in ordinary use it had long been superseded by a new type of hand, the minuscule, which originated in the 8th century, as an adaptation to literary purposes of the second of the types of Byzantine cursive mentioned above. A first attempt at a calligraphic use of this hand, seen in one or two manuscripts of the 8th or early 9th century,Cf. P.F. de' Cavalieri & J. Lietzmann, Specimina Codicum Graecorum Vaticanorum No. 5, Bonn, 1910; G. Vitelli & C. Paoli, Collezione fiorentina di facsimili paleografici, Florence (rist. 1997). in which it slopes to the right and has a narrow, angular appearance, did not find favour, but by the end of the 9th century a more ornamental type, from which modern Greek script descended, was already established.
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The piers and towers are placed outside the main girders, which increases the resistance of the bridge to wind pressure, the distance between the chains being wider at the tower than at the middle and ends of the girders; the hangers are inclined both along and across the bridge. The suspension "cables" were made from flat wrought iron plates riveted together to give a "cable" wide by thick. The lattice girders which tie the towers together are cased with more ornamental iron work bearing the date of the erection of the bridge, 1889 and underneath the ironwork appears the inscription ‘The gift of Michael Arthur First Baron Burton’. The bridge was tested by loading the middle section of the bridge with several tons of old rails and its rigidity was further tested by 20 men from the Staffordshire regiment marching in synchronised double time across the bridge.
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This petition was unsuccessful. In December 1869, a tender from John Brown was accepted "to extend the Telegraph Station building to allow the Post Office and Telegraph Station to be incorporated into the one building. The newspaper reported that a new wing was to be added to the building to be used as the post office".Illawarra Mercury, 28 December 1869, quoted in Herben, 2013, p. 12 It is likely that the "time ball", erected on a post in the front of the single storey building, was added to the premises around this time: In 1879 the postmaster proposed that a storey be added to the building to provide further office space as well as residential accommodation for the postmaster. Colonial Architect James Barnet prepared drawings in 1880 for the first floor addition and also a new facade for the building, at a cost estimated at A£1,050. Although other plans were also in contention "Mr Barnet considered that his design was least expensive and more ornamental.".
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Atropa baetica is most easily distinguished from A. belladonna when the plants are in flower and fruit: not only are the open, cup-like, yellow corollas of the former more ornamental than the sombre, purple bells of the latter, but they also offer a more pleasing contrast with the glossy black berries (- if its luscious- looking fruits did not pose such a threat to children, A. baetica might make an attractive garden plant for the herbaceous border). The berries of A. baetica are slightly smaller than those of A. belladonna and contain fewer seeds, although the seeds themselves are larger than those of A. belladonna. When not in flower or fruit, differentiation is less easy, but may be achieved by attention to leaf colour and relative pubescence: A. baetica has yellowish- green foliage and the plant is relatively glabrous, while A. belladonna is a somewhat pubescent plant with dark green foliage. Furthermore, A. baetica is a somewhat smaller plant, rarely exceeding 125 cm in height, while A. belladonna often reaches 150 cm with occasional very robust specimens reaching 200 cm.
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