There were cumulus clouds of pink and white faille, that floated like molded nimbuses around the body for the Instagram set.
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References to art history abound in his iconography, yet dwelling on his equestrian figures and perfectly spherical nimbuses risks eclipsing one of his most formidable accomplishments — the development of a truly unique, idiosyncratic vocabulary of symbols, many of which are not immediately readable.
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159 Mini-Nimbuses were built, many of which remain in use today.
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One MR9L and 21 NS3N/NS3AN Nimbuses are preserved. The body from one of the Western Welsh examples was removed by the operator and refitted to the prototype Bristol LHS6L chassis which was registered XBO1F and is now preserved with Thornes Independent of Selby, Yorks.
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Although operators using the Nimbus on intensive one-man-operated routes found it troublesome, on the lightly trafficked rural routes for which it was designed it could put in a long life. Harvey of Mousehole, Cornwall operated an ex- Halifax bus from 1966 to 1986, while other rural operators who got good value out of second-hand Nimbuses were Wiles of Port Seton in East Lothian, Scotland, and Booth and Fisher who operated on the borderlands of Yorkshire and Nottinghamshire.
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Architectural spaces are found in almost all of his paintings, excluding bust portraits of holy or biblical figures. Berruguete’s heavy use of gilding and brocade for nimbuses, garments, backgrounds and architecture is also a defining element of his artwork as it is present in almost all of his pieces. He uses gilding to highlight the halos of holy figures and often uses it in a brocaded design on the garments of important figures or as a tapestry-like background for important figures.
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This will displace the Scanias to other "country" workings and facilitate the retirement of the remaining unrefurbished Caetano Nimbuses, whose refurbishments were cancelled. A number of Alexander Dennis Enviro200s have been ordered to replace the non- DDA compliant Darts, in order to both modernise the fleet and to comply to new legislation by 2016. In August 2016, Metrobus transferred 5 (out of a total of 31) Scania OmniCity DDs from Brighton & Hove to allow route 400 to be converted to double-deck operation.
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As at September 2013 the fleet consisted of 33 buses.Stagecoach South Fleet Buzz Fleet List Buszone 22 September 2013 Mercedes Varios used to form the backbone of the fleet, but were eventually phased out by other Stagecoach-branded buses due to their step entrances. Four Optare Versas, with branding for routes 72 and 82, two Caetano Nimbuses and four Optare Solos (for the majority of the routes) were purchased in 2008/9 as part of a fleet upgrade. Four Mini Pointer Darts and three Alexander ALX200s – one of which in plain white – were also bought upon Stagecoach's purchase of the bus company.
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The Danish police force was also a large customer but phased out their Nimbuses much earlier in the late 1950s and early 1960s when they became too slow to keep up with modern cars and motorcycles; the top speed of a stock solo bike was only , and that for brief bursts only. Very few were exported. In the 1950s some further prototypes were built, like a four-cylinder with a rotary valve and carbon seals as well as a two-cylinder model with sprung rear suspension, neither of which reached production. Several prototypes with sprung rear suspension and an Earles front fork also were built.
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The phoenix is sometimes pictured in ancient and medieval literature and medieval art as endowed with a halo, which emphasizes the bird's connection with the Sun. In the oldest images of phoenixes on record these nimbuses often have seven rays, like Helios (the Greek personification of the Sun). Pliny the ElderAncient Magic and the Supernatural in the Modern Visual and Performing Arts, edited by Filippo Carlà-Uhink, Irene Berti, 2016, page 172 also describes the bird as having a crest of feathers on its head,Pliny the Elder, Natural History, 10.2 and Ezekiel the Dramatist compared it to a rooster. Although the phoenix was generally believed to be colorful and vibrant, sources provide no clear consensus about its coloration.
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A notable feature of the murals in Kizil is the extensive use of blue pigments, including the precious ultramarine pigment derived from lapis lazuli from Afghanistan. In the classification of the art of the region by Ernst Waldschmidt, there are three distinct periods: the murals from the first phase are characterized by the use of reddish pigments, while those from the second phase used bluish pigments in abundance. The earlier paintings reflect more Greco-Indian or Gandharan influences, while the second ones show Iranian (Sassanian) influences. Later caves seem to have fewer legends and/or jatakas, being replaced by the repetitive designs of numerous small Buddhas (the so- called thousand Buddha motif), or sitting Buddhas with nimbuses.
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Visible elsewhere are images of apsaras carrying a janggu around the neck and a drumstick in the right hand, their heavenly robes fluttering in the wind as if descending from the heavens. The seated Buddhas among the brackets appear on lotus pedestals surrounded by nimbuses of the five cardinal colors; the urna is flesh-colored, while some images omit the topknot gem entirely. The hands are mainly seen in the Vajra or Dharmacakra mudrā, while some are positioned in the Bhumisparsha mudrā or with hands held chest-high. Written across the central tenons above the front entrance are His Majesty the Sovereign (主上殿下), Her Royal Highness the Queen Consort (王妃殿下), and His Royal Highness the Prince Successor (世子邸下).
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The church of Sant Pere in Àger, founded by Arnau Mir of Tost, who conquered the valley of Àger from the Saracens, was the see of a regular canonry exempt from ordinary jurisdictions (in other words, it did not depend on the Bishop of Urgell), with enormous estates from the donations by the founder and his descendants. In keeping with its importance, the church, now in ruins, was very monumental. Of the paintings that once decorated it, only scattered fragments remain of the main and southern apses, of which the most outstanding and complete is that of the two apostles, Thaddeus and James, from the first arcosolium in the central apse. The two monumental apostles of Àger are presented in a face-on, hieratic position, with scrolls or volumes in their hands, which they are holding in alternating positions, at the same time as the colour of their nimbuses and their clothing also differs.
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