Knowing her lace, Rebecca also had requested some guipure openwork.
|
|
An openwork dial showcases two balance wheels and two hairsprings sharing the same axis.
|
|
Wealth manager Openwork also dropped a 330 million pound mandate with Woodford last week.
|
|
Wealth managers St James's Place and Openwork also pulled separate mandates totaling nearly 4 billion pounds from Woodford last week.
|
|
Openwork said it pulled the Omnis Income & Growth Fund mandate shortly after Woodford suspended its flagship fund on June 3.
|
|
The viewer's eye goes to his headgear—not a helmet, exactly, but an openwork knit cap woven from thick white cords.
|
|
Diamonds spell out the Italian brand's logo across the openwork dial, and baguette-cut emeralds are set invisibly on the bezel.
|
|
Woodford last week lost separate mandates to manage money from wealth managers St James's Place and Openwork totalling nearly 4 billion pounds.
|
|
And he followed them up with slightly more conventional sculptures: openwork wire figures and portrait heads of pop personalities (Josephine Baker, Calvin Coolidge).
|
|
Churchlike, too, is the screen's openwork pattern, which traces a flattened-out perspectival view of a dome with an open, circular oculus high up.
|
|
Her barely there long-sleeved dress was the stuff of macrame dreams, combining a huge keyhole, several types of openwork knit, and gold detailing throughout.
|
|
Our fashion desk recommends the bucket bag, openwork knit lace tops, floral-embroidered military shorts and practical straw hats for that Instagram-ready festival look.
|
|
And the house's creative studio in Paris designed the new movement as an openwork, architectural construction with clean lines and a vertical alignment of the center components.
|
|
A luxury item in the late Roman Empire, the cage cup has a convex bottom with no base, and nests inside an elaborate, completely detachable openwork stand (the "cage").
|
|
Mark Henry, an Australian engineer, has upgraded them with improvements like an openwork handle that stays cool and one-piece construction without rivets so food residue doesn't get trapped.
|
|
Openwork said in a statement that it decided to change managers in May "as part of Omnis' focus on delivering the best outcomes for clients and the advisers that serve them".
|
|
In the main gallery, large openwork steel sculptures, based on calligraphic forms, are set against banners embroidered with texts by Sufi masters; tall, calligraphy-covered porcelain pots fill an adjoining space.
|
|
CALLICOON FINE ARTS The multidisciplinary artist Lee Relvas is, among other things, a performer, and her lithe, openwork sculptures in "Some Phrases," at Callicoon, give the impression of choreography in progress.
|
|
I started to copy the drapey openwork sweaters at Anthropologie and the lacy crop tops at Free People, and to add little touches of my own: a knitted hem, a breast pocket.
|
|
Openwork and St James's Place pulled separate mandates from Woodford totaling nearly four billion pounds shortly after the British fund manager suspended its 3.7 billion pound Equity Income fund on June 3.
|
|
This year, the Dior Grand Bal Ruban features an openwork bow carved on the oscillating weight, swinging atop a dial with either a blue sunburst or a bed of pink and gold feathers.
|
|
Openwork said in a statement on Friday that it decided to change managers in May "as part of Omnis's focus on delivering the best outcomes for clients and the advisers that serve them".
|
|
The timepiece includes a guilloché gold case, guilloché silver dial, an hour dial in appliquéd silver with a fast-slow indicator as well as an openwork aperture indicating moon phases on midnight blue enamel.
|
|
Last spring the 353-story Mjostarnet office and residential tower by Voll Arkitekter in Brumunddal, Norway, became the world's tallest mass-timber building at 280 feet (including an openwork wood structure on its top).
|
|
When industrial sapphire crystal was introduced to watchmaking in the 1990s, it was meant to be the least conspicuous part of a watch, a way of showing off the intricacies of openwork or skeletal movements.
|
|
She took inspiration for her latest collection, Aurelia, from an intricate Byzantine-era flower motif rendered in the pierced openwork gold typical of its time, which she found in the company's extensive library of art and history books.
|
|
Why put in all that time and effort to knit an elaborate lace shawl, counting stitches and following a complicated chart to get that openwork pattern of leaves and tendrils — but do it all in that peculiarly harsh electric blue?
|
|
Filled with some two dozen wire-woven openwork sculptures by Ruth Asawa, the big second-floor gallery at David Zwirner's West 2186th Street space in Chelsea looks like a basketry forest, or a subaqueous garden, or a cloud of microbial life.
|
|
For example, the diamond-defined camellia (with a flawless 2.15-carat center stone) on the Contraste Blanc necklace can be used as a brooch; its removal revealed an openwork camellia that continued to accent the necklace's combination of five stands of pearls on one side and two strands of diamonds on the other.
|
|
The Salish adopted many of the numerous weaving techniques. These include: wrapped, diagonal openwork, vertical and slanting openwork, openwork, overlay, simple twining, three stand twining, plain openwork and double twining. The most frequent method used the plain, twill and twine techniques.
|
|
Though much openwork relies for its effect on the viewer seeing right through the object, some pieces place a different material behind the openwork as a background.
|
|
Openwork basket, English Bow porcelain, c. 1754–1755 Ancient Roman gold bracelet from the Hoxne Hoard. JULIANE is spelled out in opus interrasile openwork. Intricate jalis from the Sidi Saiyyed mosque in Ahmedabad, India.
|
|
Techniques are mainly relief, openwork carving, round carving, and so on.
|
|
Linen handkerchief decorated with three rows of hemstitching. Openwork insertion with needle- weaving.
|
|
The later of the two spires on the West Front of Chartres Cathedral is very largely openwork. As well as stone and wood the range of materials includes brick, which may be used for windows, normally unglazed, and screens. Constructions such as the Eiffel Tower in Paris are also described as openwork. Here an openwork structure was crucial for the engineering, reducing not only weight but wind resistance.
|
|
Another well-known openwork example is the silver and niello Strickland Brooch, which also dates to the ninth century.
|
|
Beginning with the early fourteenth- century spire at Freiburg Minster, in which the pierced stonework was held together by iron cramps, the openwork spire, according to Robert Bork, represents a "radical but logical extension of the Gothic tendency towards skeletal structure."Robert Bork, "Into Thin Air: France, Germany, and the Invention of the Openwork Spire" The Art Bulletin 85.1 (March 2003, pp. 25–53), p 25. The 18 openwork spires of Antoni Gaudi's Sagrada Família in Barcelona represent an outgrowth of this Gothic tendency.
|
|
The area around the monument is lined with colored plates and landscaped. The monument is fenced with openwork metal bars.
|
|
The parapet of the north aisle consists of stone openwork with crocketed pinnacles; the parapet of the south aisle is crenellated.
|
|
The openwork disc consists of a metal ring with an openwork design. These delicate brooches were usually made in copper alloy, although the most famous examples, the Pentney Hoard brooches were cast in silver. They are commonly found in the Midlands and date from the early sixth century. The delicate brooches were commonly worn in pairs on the shoulders.
|
|
In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2004) On a larger scale in metal, wrought iron and cast iron decoration more often than not have involved openwork. Scythian metalwork, which was typically worn on the person, or at least carried about by wagon, uses openwork heavily,Timothy Taylor.
|
|
The transepts and chancel are similarly divided, with four-light Decorated windows at their ends. Along the top runs an openwork parapet.
|
|
The main facade has a decorated portal, openwork balconies with balustrades. Dating from the lattice of the coat of arms of the Leszczynski's.
|
|
Openwork bases and pedestals "became the characteristic and dominant forms in ceramics" in the Gaya confederacy period. There was little use of it in European ceramics before the 18th century, when designs, mostly using lattice panels, were popular in rococo ceramic "baskets", and later in English silver trays. Openwork sections can be made either by cutting into a conventional solid body before firing, or by building up using strips of clay, the latter often used when loose wickerwork is being imitated. In glass openwork is rather less common, but the spectacular Ancient Roman cage cups use it for a decorative outer layer.
|
|
Openwork: History The asset management department was hived off to form Threadneedle Investments, and it was bought out by Zurich Financial Services in 1998. Its direct sales force became the Zurich Advice Network (ZAN) in 2001. In 2005 and following changes in industry regulation ZAN evolved into a stand-alone entity known as Openwork - a directly authorised multi-tiered financial distribution network.
|
|
Assuit has great lateral elasticity, thanks to its openwork mesh. It is heavy, and retains heat, but is favoured for its ability to drape.
|
|
The tower has three stages with stone bands at each stage, single-light windows, and is surmounted by an openwork stone lattice balustrade with plain pinnacles.
|
|
New York reproduction On one face it has panels of openwork decoration in Viking Ringerike style. Like the manuscript, it is in Trinity College Library, Dublin.
|
|
Particularly notable features include stone window hoods with incised decoration, openwork wooden gable ornaments, and a panel-brick chimney stack. The brickwork of the house has been painted.
|
|
White-on-white openwork embroidery of Poltava Region In the Central and Eastern parts of Ukraine, embroidery usually consists of geometric forms and plant ornaments. The color range of the motifs is very delicate and very diverse as to individual details. In the Poltava Region, the colors usually include pale blue, white, light ochre, pale green and gray tones. Poltava products are especially famed for their “white-on-white” and openwork embroidery.
|
|
From the inside Openwork or open-work is a term in art history, architecture and related fields for any technique that produces decoration by creating holes, piercings, or gaps that go right through a solid material such as metal, wood, stone, pottery, cloth, leather, or ivory."Openwork." Grove Art Online, Oxford Art Online. Oxford University Press, accessed May 26, 2015, subscription required. Their article reads, in full: "Any form of decoration that is perforated".
|
|
Some types of objects naturally suit or even require openwork, which allows a flow of air through screens, censers or incense burners, pomanders,Aftel, mandy, Fragrant: The Secret Life of Scent, 2014, Penguin, , 9781101614686, p. 129 sprinklers, ventilation grilles and panels, and various parts of heating systems. For exterior screens openwork designs allow looking out, but not looking in. For gates and other types of screens, security is required, but visibility may also be wanted.
|
|
In architecture openwork takes many forms, including tracery, balustrades and parapets, as well as screens of many kinds. A variety of screen types especially common in the Islamic world include stone jali and equivalents in wood such as mashrabiya. Belfries and bell towers normally include open or semi-open elements to allow the sound to be heard at distance, and these are often turned to decorative use. In Gothic architecture some entire spires are openwork.
|
|
Techniques or styles that normally use openwork include all the family of lace and cutwork types in textiles, including broderie anglaise and many others. Fretwork in wood is used for various types of objects. There has always been great use of openwork in jewellery, not least to save on expensive materials and weight. For example, opus interrasile is a type of decoration used in Ancient Roman and Byzantine jewellery, piercing thin strips of gold with punches.
|
|
The Korean version of the jian is known as the geom or gum, and these swords often preserve features found in Ming-era jian, such as openwork pommels and sharply angled tips.
|
|
Openwork or sukashibori tsuba or sword guard is the Japanese term for openwork or pierced work, using various techniques in metalworking and other media, in which the foreground design is left intact, while background areas are cut away and removed (or the converse may be performed). (revised edition; 1964 first ed.), p.132/133 The resulting piece becomes see-through (sukashi) and hence the name. Traditional artisans worked on piece of cast metal (or hammered metal) such as bronze as medium.
|
|
The aisles have five five-light windows and are battlemented; the clerestory has triple lancet windows and an openwork parapet. The apse has tall, five-light, Perpendicular windows. On the south side is a priest's door.
|
|
These are characterized by the utilization of light curves and a serene, elegant feel. Decoration techniques such as relief carving, intaglio carving, iron oxide glaze, openwork became in use. The sanggam inlaying also started at this age.
|
|
The external appearance of Dingjingtang shares some semblance with a residence, and the enclosures at either end use octagonal tiles and openwork windows shaped like butterflies and bats on the walls, which represent "bestowing fortune" (賜福).
|
|
It is possible that they once held figures, but these would have had to have been very small and flat. The twelve towers are more elaborate, with a hexagonal groundplan. On the outside there are three niches closed with openwork doors, on the inside there is one niche flanked by two (alternately round or square) towers decorated with battlements and imitation brickwork. The spires of the towers extend above the top of the chandelier's hoop and are alternately round or hexagonal, with openwork windows in imitation of roof lanterns.
|
|
Among the latest Mycenaean bronzes found in Cyprus are several tripod-stands of simple openwork construction, a type that has also been found with transitional material in Crete and in Early Iron Age (Geometric) contexts on the Greek mainland. Some more elaborate pieces, cast in designs of ships and men and animals, belong to a group of bronzes found in the Idaean cave in Crete, most of which are Asiatic works of the 9th or 8th centuries BC. The openwork tripods may have had the same origin. They are probably not Greek.
|
|
OED "Openwork", 1, where all examples cited from earlier than 1894 are hyphenated, though this is now less common than the single word. Such techniques have been very widely used in a great number of cultures. The term is rather flexible, and used both for additive techniques that build up the design, as for example most large features in architecture, and those that take a plain material and make cuts or holes in it. Equally techniques such as casting using moulds create the whole design in a single stage, and are common in openwork.
|
|
Griffin, ivory, Begram ivories. Both ivory and bone were carved in relief panels, often with two or three strips forming a single inlay. Only ivory was used for openwork. After carving the surfaces were smoothed and lightly polished.
|
|
Above the church and the bell tower, wooden openwork ornamental crosses were raised, which are monuments to the 19th century craft of cross-making. In 1997, the church with its bell tower was incorporated into the real heritage registry.
|
|
Burial Complex with an Openwork Pendant from the Burial of Bronze Age Cemetery Кurma XI (Lake Baikal)]. Archeology, Ethnography and Anthropology of Eurasia, vol. 4(16): 110–115., Haverkort, C., Weber, A.W., Katzenberg, M.A., Goriunova, O.I., Simonetti, A., Creaser, R.A. 2008.
|
|
The body of a fibula is known as either the bow or the plate, depending on the basic form. A bow is generally long and narrow, and often arched. A plate is flat and wide. Plates could be solid or openwork.
|
|
Below the tower on the north side is the main entrance. The tower has four unequal stages with panelled sides and corner buttresses terminating in crocketed turrets with openwork battlements and crocketted pinnacles. The clock was made by Potts of Leeds.
|
|
Between the string course and the parapet are quatrefoil windows. On the north and south sides, and on the outer sides of the towers are rose windows. At the summit of the towers are openwork parapets and more crocketted pinnacles.
|
|
The two silver brooches found in the hoard are representative of the ninth century Trewhiddle style of Anglo-Saxon England. Characteristics of the style are: the use of silver, niello inlay, intricate carving, and interlaced animal, plant and geometric patterns. Each brooch represents different features of the style, the smaller brooch belongs to the class of intricately designed openwork brooches with zoomorphic motifs and the larger brooch is characteristic of the more simple, flat disc brooches with abstract ornamentation. Sheet disc brooch, Beeston Tor hoard The smallest brooch has an openwork design with a niello background.
|
|
Unger's Temple was a gazebo-like structure of red aluminum placed in a group of cherry trees.E. Sozanski, "Sculpture that Finds a Place in Great Outdoors." The Philadelphia Inquirer, August 10, 1986. It was constructed in an openwork fashion with aluminum plate ribs.
|
|
The handle is generally the most beautiful part decorated (openwork style). Kundu is used in number of ways for religious or civilian occasions. For the Papuans, the sound of the Kundu is the voice of the ancestors. This concept is common throughout Oceania.
|
|
The suspension consists of five sets of double road wheels with torsion bar springs. The system does not have track return rollers. The forward and rearmost road wheels are equipped with hydraulic shock absorbers. On some of the tanks lightweight openwork road wheels were used.
|
|
The Chapel of Saint James is of a very pure and select Flamboyant style, one of the best examples that exist in Spain.The Flamboyant style came late to Spain from northern Europe and disappeared quickly being replaced by Isabelline Gothic in Spain and by Manueline in Portugal. This most elaborate Gothic style is reflected in the entrance arches with their openwork traceries and in the skylight of the blind arches of the interior, in the gables, the ornaments (openwork and hanging festoon), and the structural ribs rising from the floor that cross the vault forming a star. Nevertheless, the exterior features are austere, and completely Hispanic.
|
|
On the west tower's window, there is a wooden openwork preserved in the whole opening. On the fourth floor there is a triforium. The fifth tier plan changes to an octagon. It is in a shape of a drum with oeil- de-boeuf (ox-eye) windows.
|
|
The spire is recessed behind an openwork parapet with gargoyles. Internally there are three arcades with octagonal columns and double-chamfered arches. The chancel is at a lower level than the nave. A gallery extends across the west end of the nave and the south aisle.
|
|
"Scythian and Sarmatian art." Grove Art Online, Oxford Art Online. Oxford University Press, accessed May 27, 2015, subscription required probably partly to save weight. Sukashibori (roughly translating to "see-through work") is the Japanese term covering a number of openwork techniques, which have been very popular in Japanese art.
|
|
Coastal civilizations were the first to create fishnets, and were the first to utilize the openwork tradition in knotted objects. The fishnets were created through twining, a non-loom technique similar to macramé. Knotting patterns depicting standing humans, parrots, snakes, and cats have been decoded from surviving fragments.
|
|
The (6.1 cm) brooch consists of an openwork silver sheet metal face with simple decorations of entwined plants, that cover a gilded copper alloy backplate. The back of the brooch is undecorated and the pin hardware is damaged. The smallest brooch appears to be the only brooch that has been worn.
|
|
With repeated animal imagery, an openwork background, and a rectangular frame, the included image of the three deer plaque is a paradigm of the Xianbei art style. Concave plaque backings imply that plaques were made using lost-wax casting, or raised designs were impressed on the back of hammered metal sheets.
|
|
The chancel has buttresses rising to crocketed pinnacles, an openwork parapet, and single-light windows. The interior of the church is more Georgian than Gothic Revival in style. The octagonal font dates from the 15th century, and is in Purbeck marble. Also in the church is a memorial brass dating from about 1360.
|
|
The lateral carvings show openwork acanthus tendrils with volutes that merge into musical angelic figures. Acanthus foliage is located on the case above the flat fields and encloses the entire Rückpositiv above and below the pipe fields. The carvings are attributed to Jan de Rijk.Edskes, Vogel: Arp Arp Schnitger and his Work.
|
|
Modern reproduction of a helmet of James II of England made in 1686. The face protection is in the form of an openwork depiction of the royal coat-of-arms The appearance and finish of lobster-tailed pots varied greatly, from the highly decorated, superb-quality examples made for individual commanders down to crudely executed "munition-quality" types, which were mass- produced to equip large numbers of ordinary cavalry troopers. High quality helmets could be decorated using a range of techniques, including repoussé, engraving and blue-and-gilt finishes. An extant helmet made for King James II of England had the three bar face defence replaced by a pierced openwork plate depicting the full royal arms of England, sight being afforded by spaces within the design.
|
|
The caliga's midsole and the openwork upper were cut from a single piece of high quality cow or ox- hide. An outsole was fastened to the mid-sole, using clinched hobnails, usually of iron but occasionally bronze. The clinched hobnail ends were covered by an insole. Like all Roman footwear, the caliga was flat-soled.
|
|
The width of each bay is devoted to stained glass windows. The design of the Flamboyant tracery is generally uniform throughout, with only a few small deviations between bays. Only the entry portal features a gable, which pierces the balustrade above. The openwork gable is steeply pitched and complements the tracery in the windows below.
|
|
The society's emblem is a representation of a 5th- or 6th-century bronze openwork disc in a triskelion design, probably a girdle ornament or amulet, which was found in 1893 in an Anglo-Saxon cemetery in Edridge Road, Croydon. The original object can now be seen in the Riesco Gallery of the Museum of Croydon.
|
|
Cyr, 29. Another example is the Star of David openwork design on the porch railings, a very popular design of that time period.Cyr, 40. Additional examples of Scandinavian influence include the linseed oil treatment, large and open rooms with windows and doorways that are in proportion to the size of the room, and high ceilings.
|
|
In particular, the British magazine The Engineer published an article about the tower."The Nijni-Novgorod exhibition: Water tower, room under construction, springing of 91 feet span", The Engineer, 1897, № 19.3. – pp. 292–294 After the exhibition closed, the openwork tower was bought by a leading glassware manufacturer and art sponsor, Yury Nechaev-Maltsov.
|
|
The building was designed by Stefan Kuryłowicz. Initially, the project was a residential building, but the investor, Marvipol, made it become an office building because of the financial crisis at the time. Because of this decision, the building gained its characteristic openwork facade, which also limits sun exposure inside the building by around 40%.
|
|
The south façade faces the town while the north closely abutted a large defensive wall. Not surprisingly, this southern façade received the most attention from the architect and sculptors. Indeed, it is richly adorned and features intricate stone carving. Dramatic, steeply-pitched gables intersect a tall balustrade, creating an openwork screen of sinuous stonework.
|
|
The east window is in Perpendicular style and has five lights. Above this window in a niche is a statue of Henry IV. The parapet of the nave is plain, and that of the chancel is an openwork quatrefoil. Around the church are gargoyles representing mythical beasts and soldiers, almost all of them modern.Cranage, p. 173.
|
|
The mauve frontage is dominated by a tapering bell tower rising above the entrance. The openwork belfry was designed in the 1860s so as to echo the Kremlin towers across the river. The revivalist design is by Nikolay Kozlovsky. The church was closed for worship between 1930 and 2004, with the main building being a kommunalka.
|
|
Macarons on a paper doily A doily (also doiley, doilie, doyly, doyley) is an ornamental mat, typically made of paper or fabric, and variously used for protecting surfaces or binding flowers, in food service presentation, or as a head covering or clothing ornamentation. It is characterized by openwork, which allows the surface of the underlying object to show through.
|
|
A capsule Cage collection was later launched, including the Cage top which received critical acclaim when worn by Beyoncé for her 2014 Grammy Awards performance. In 2011 La Perla began a collaboration with French couturier Jean Paul Gaultier. That same year, La Perla entered the shapewear sector with ShapeCouture, which featured distinctive tailored cuts, tulle inserts and openwork finishes.
|
|
This room is accessed through a pointed arch decorated with openwork tracery similar to that of the large windows, divided by stylized maineles. The Refectory or Throne Room used as a reception room, began to be built in 1560 and belongs to the Baroque style.Bérchez, J., Arquitectura renaixentista valenciana (1500-1570). València, Bancaixa, 1994, p. 90.
|
|
Asian Art Museum, San Francisco. pg. 33. 2008. Iwao Kōunsai (1901–1992) established a lineage that included Kadota Nikō (門田二篁造, 1907–1994), who applied characteristic Kyūshū techniques, and Honda Shōryū (本田聖流造, b. 1951), one of his pupils, who makes undulating, complex sculptures with light, openwork textiles.Melissa M. Rinne.
|
|
The dragon itself represented the Emperor, Puyi. The medal of the order and the associated order star match in their appearance. The gem has an openwork, green enamel hanger that shows a stylized cloud group consisting of a central cloud vortex and two concentric pentagons. The corresponding rosette is white and shows a blue ring in the middle.
|
|
Collar of the Order. The design was chosen to be an orchid because it was reportedly Puyi's favorite flower. The collar consists of one central large link and 20 small links, interconnected by figured intermediate links in the form of a Buddhist "endless knot". Small chain links are openwork slotted pentagons with rounded corners, symbolizing clouds.
|
|
However, Lambayeque's local style included motifs such as sea birds and fish, as well as crescent-shaped headdresses. The Chancay tended to have many different styles in their textiles.These styles included openwork, painted, slit tapestry, and three-dimensional figures. The Chancay textiles tended to use soft colors, which contrasts with the Chimú, who used bright, vibrant colors.
|
|
Brush rest in the form of karako boys with a snowball, porcelain with underglaze blue, 1800–1830 Hirado ware openwork incense burner (koro) with the shōguns Tokugawa clan crest aoi mon, 1775–1800 is a type of Japanese porcelain mostly made at kilns at Mikawachi, Sasebo, Nagasaki, and it is therefore also known as . It was made in the former feudal Hirado Domain, which owned the kilns, and was responsible for establishing and directing their production. It is known mainly for its sometsuke underglaze cobalt blue and white porcelain, with the amount of blue often low, showing off the detailed modelling and the very fine white colour of the porcelain. This has a finer grain than most Japanese porcelains, allowing fine detail and thin and complicated openwork in forms.
|
|
Verona is a historic plantation house located near Jackson, Northampton County, North Carolina. It was built about 1855, and is a one-story, six bay, "T"-shaped, Italian Villa style frame dwelling. It has a hipped roof, is sheathed in weatherboard, and sits on a brick basement. It features a full- width porch, with flat sawnwork posts and delicate openwork brackets.
|
|
Ian Nicholas Lovett (born 6 September 1944) is an English banker. Ian Lovett is the Chairman of Dunbar Bank. He has also held directorships of Barclays Bank, Zurich Financial Services and Openwork and has made appearances as an after-dinner speaker. He chaired Middlesex County Cricket Club (2007-2016) and was Deputy Chairman of the England and Wales Cricket Board (2015-2018).
|
|
The interior houses a single-space wide nave with a large wooden barrel vault, enclosed by a wooden matroneum. Patches of the rich painting decor have survived on the walls, unfortunately repainted and partially plastered. Balustrades and matroneum are covered with polychrome floral and geometric motifs. In the chancel stands a brick altar designed by Heinrich Seeling, with an openwork clearance.
|
|
The interior rooms are open and colonnaded, the columns often surmounted with openwork and curved arches. Beautiful architecture design of Khetri Mahal Most of the rooms are connected through arched portals rather than with doors, and much of the masonry is covered with a pinkish plaster. One enters the palace via a student hostel at the base of the structure.
|
|
The creation of the portal earned Baumel the Puvis de Chavannes prize. The church also has a street entrance on rue de Dantzig. Once inside the perimeter of the church, one feels in a secluded haven far from the secular world and surrounding city. On the outside, the church presents a round rough-concrete, openwork cone shaped like a Gugelhupf.
|
|
The upper two stages are ornately decorated. Each side is arched and contains a louvred three-light bell opening incorporating a clock face. At the bottom of the stage is an openwork balcony, and at the top is a crocketed gablet. The top stage is octagonal and contains blind tracery, a stepped parapet, and short flying buttresses linking to the pinnacles.
|
|
The Pentney Hoard is an Anglo-Saxon jewellery hoard, discovered by a gravedigger in a Pentney, Norfolk churchyard in 1978. The treasure consists of six silver openwork disc brooches, five made entirely of silver and one composed of silver and copper alloy. The brooches are decorated in the 9th century Trewhiddle style. The hoard is now in the British Museum.
|
|
The largest Pentney disc brooch, (10.2 cm), British Museum The largest brooch is a silver disc with an intricate openwork pattern and inlaid with black niello. This (10.2 cm) brooch is an excellent example of the Trewhiddle style. The outer edge of the brooch contains eight panels of intertwined creatures. The center of the brooch is ornamented with stylised animal and plant decorations.
|
|
The other brooch pair (8.5 cm) has a simpler openwork design and extensive niello inlay. Each brooch contains an outer band with alternating panels of plant and animal engravings carved into the silver. The central area of the brooch has a simple cross- shaped arrangement with five riveted bosses. The setting is divided into four panels of entangled beasts inlaid with niello.
|
|
The Illyrians (The Peoples of Europe) by John Wilkes, 1996, page 233&236, "The Illyrians liked decorated belt-buckles or clasps (see figure 29). Some of gold and silver with openwork designs of stylised birds have a similar distribution to the Mramorac bracelets and may also have been produced under Greek influence." The Illyrians used four concentric half circles whilst the Macedonians five.
|
|
At the top of the tower is a clock face on each side, except the north. Above this is an octagonal belfry surmounted by an openwork stone spire. The nave and tower are in Neoclassical style, and the chancel is Gothic Revival. The church is entered by a double door in a round-headed doorway on the west side of the tower.
|
|
The hammerbeam roof includes both blank and openwork tracery. The authors of the Buildings of England series consider that the 17th-century furnishings of the chapel are the most complete of their date in Cheshire. F. H. Crossley states that the chapel holds "the most valuable post-Reformation church furniture we possess in the country". The chancel is panelled in old oak.
|
|
A lace fabric is lightweight openwork fabric, patterned, with open holes in the work. The holes can be formed via removal of threads or cloth from a previously woven fabric, but more often lace is built up from a single thread and the open spaces are created as part of the lace fabric. Lace may be crocheted tatted,or knitted.
|
|
At the rear of the waiting room are paired symmetrical staircases with ornate openwork iron railings up to the near platform. In 1988, Amtrak conveyed the station to the city of Rome. Amtrak proposed to close the station in 1996, but the city resisted and instead found federal funds to renovate the station. The $4 million reconstruction was finished in 2004.
|
|
Married women fastened their overdresses near the shoulder with matching pairs of large brooches. Modern scholars often call them "tortoise brooches" because of their domed shape. The shapes and styles of women's paired brooches varied regionally, but many used openwork. Women often strung metal chains or strings of beads between the brooches, or suspended ornaments from the bottom of the brooches.
|
|
The church was formally opened on 18 February 1844, and consecrated on 26 June 1845 by John Bird Sumner, the Bishop of Chester. The land for the church was given by the 2nd Earl of Bradford. It provided seating for 471 people. Originally the church had an openwork spire, with crocketed pinnacles, a parapet with open tracery, and traceried windows.
|
|
These have origins in the pre Hispanic period although various techniques have since been added. Embroidering of blouses and guanengos (Michoacan style huipils) can be done in openwork, straight stitching, cross- stitch and tucks. San Felipe de los Herreros is particularly noted for this work, as well as Zacán Tócuaro, Erongarícuaro, Tarecuato and Angahuan. Embroidered as well as woven designs can indicate where an item is from.
|
|
It is in Arts and Crafts style, and contains openwork panels. The screen in the tower arch, dating from 2000, consists of etched glass panels standing on a wood and glass base. The etchings were executed by Sally Scott, and depict angels and music. The three- manual organ was built in 1922 by Jardine and Company, and rebuilt in 1964 by J. H. Cowan of Liverpool.
|
|
Some designs became more complex in the Qianlong period. A vase with engraved pattern and openwork medallions, painted with famille rose enamels. Falangcai porcelain was also made at the imperial kilns of Jingdezhen, and the term yangcai was used to refer to famille rose porcelain produced at Jingdezhen initially to imitate falangcai. Experimentations however were also conducted in Jindezhen to achieve the famille rose palette.
|
|
A similar ornament covers lintel stones, abaci of the columns, individual parts of the archivolt and a hand of eight-pointed stars trimming the portal in a rectangular frame. The carving is so perfect that the overall impression is that of openwork lace. The distinctiveness and richness of the church's decoration evidence the artistic taste and consummate skill of the craftsmen who created it.
|
|
Pentney brooch, 8.5 cm, British Museum Four of the disc brooches belong to two non-identical pairs. All four items are made in silver sheet metal with an openwork design. They are embellished with intricate plant, animal and geometric ornamentation in panels surrounding a central cross-shaped area. All of the brooches were originally topped with multiple bossed rivets; many of the bosses are missing.
|
|
The plaques all measure nearly 13 cm high and 12 cm wide. They are in the unusual form of framed scenes combining relief figures with an openwork background. The backgrounds have, depending on the scene depicted, foliage, checkerboard or cross patterns, or, as in the Visitation, an architectural setting behind the figures. In some scenes the number of figures leave no space for decoration of the background.
|
|
St John's Church The Anglican Church of St John The Baptist dates from the late 14th century. Its -high tower is in four stages, with set-back offset corner buttresses. It is capped by openwork balustrading matching the 19th-century parapets. There are two-light late 14th-century windows on all sides at bell-ringing and bell-chamber levels, the latter having fine pierced stonework grilles.
|
|
The tamamushi; the metalwork was once brilliant with the wings of the eponymous beetle The shrine is made of lacquered hinoki or Japanese cypress and camphor wood. Both are native species. Attached to the members of the building and the edges of plinth and dais are bands of openwork bronze. It was under this metalwork that the tamamushi wings were applied in the technique known as beetlewing.
|
|
In the central panel are carvings of Christ on the cross flanked by the Virgin Mary and Saint John, and the outer panels contain angels. The canopy is elaborately decorated and has pinnacles, crockets, and openwork. The lectern is in the form of an eagle, and its pedestal stands on the backs of three lions. The pulpit is approached by seven steps and contains carved panels.
|
|
These are double- winged and filled with openwork carving of acanthus leaves and volutes. The box-shaped Oberpositiv front has four pipe-flats with wide-scaled, foliated dummy wooden pipes, and towards the choir there is another pipe flat. On the Oberpositiv flat-carved ornaments are used. The polygonal pedal tower on the crossing pier is crowned by a volute and a trumpeting angel.
|
|
This artwork is composed of two limestone elements, each being hand-carved by the artist. The upper element is a three-sided openwork triangular that sits on the second element, a cylindrical pedestal. The top form looks twisted as it loops over the open space like a handle. The bottom part of the “handle” which contacts the pedestal is flattened out into an oval.
|
|
German Truppenfahne Units of the Bundeswehr have only a single Colour. The Truppenfahne is a square version of the national flag with the Bundesadler (national shield) overall in the centre. The flag is surrounded by a black, red, and gold lacework border and edged on three sides by gold fringe. The finial is a gilt bronze openwork spearhead surrounding a black and silver Iron Cross.
|
|
The Finding in the Temple stained glass window manufactured in Germany by the Heinrich Oidtmann Company. San Sebastian Church has two openwork towers and steel vaulting. From its floor, the basilica's nave rises to the dome, and to the tip of the twin spires. The faux finished interior of the church incorporates groined vaults in the Gothic architecture style permitting very ample illumination from lateral windows.
|
|
Figures were typically uncoloured, or just with certain features coloured in ink, often just black, but sometimes a few other colours. Chinese puzzle ball with openwork and a series of twelve smaller balls, ivory, 19th century By the 18th century China had a considerable market in items such as figures made for export to Europe, and from the Meiji Period Japan followed. Japanese ivory for the domestic market had traditionally mostly been small objects such as netsuke, for which ivory was used from the 17th century, or little inlays for sword-fittings and the like, but in the later 19th century, using African ivory pieces became as large as the material would allow, and carved with virtuosic skill. A speciality was Chinese puzzle balls, consisting of openwork that contained a series of smaller balls, freely rotating, inside them, a tribute to the patience of Asian craftsmen.
|
|
A substantial number of surface finds, including coins, at Sunderland Farm (grid ref. TF 78 39) has been claimed as indicating the site of a Roman villa. However, the finds do not contain any architectural items indicating a high-status building. A very high-status 3rd century gold openwork ring set with garnet, green glass and pale sapphire was found in an unrecorded location in the Fifties, and sold at auction.
|
|
In 1899 a clock was added to the top of the gateway to celebrate the diamond jubilee of Queen Victoria two years earlier. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola. The clock was designed by the Chester architect John Douglas. The whole structure, gateway and clock, was designated as a Grade I listed building on 28 July 1955.
|
|
The chandelier in the cathedral, The Hezilo chandelier is composed of a circular hoop which is in diameter. The hoop is made of gilt copper and bears Latin inscriptions on the upper and lower edges. Between the inscriptions are three horizontal bands, with the middle band bulging outwards, which are richly decorated with openwork foliage. There are square merlons on top of the hoop holding seventy- two candles.
|
|
The outer appearance of the building is marked by the gradation of its bulks from the heavy bottom part to the openwork top which emphasizes the domination of the vertical in the building's composition. The architectural peculiarities of the composition of the bell tower influenced the design of the structures like the two-story sepulchral churches in Yeghvard and Noravank built in Armenia in the second quarter of the fourteenth century.
|
|
A magazine advertisement for negligee nightgowns in 1915. From 1840 to 1900, stylistic changes were made to nightgowns' necklines, collars, sleeves, bodices and closures. "Embellishments such as frills, ruffles, tucks, ribbons, lace, beading, openwork and embroidery would often be added to necklines, collars, bodices, sleeves, cuffs, and skirts."[1]The traditional nightshirt was replaced by pyjamas amongst the Western world when it was adopted from India in 1870.
|
|
The northwest facade of the corps de logis has tall mullion and transom windows. An openwork stone balustrade runs along the base of the steeply pitched roof, which is pierced with dormers opening into the attic. At the right end is a large square pavilion, which rises an additional storey; toward the left end, a taller octagonal turret encloses a staircase. Each has a separate, steeply pitched roof.
|
|
The castle has a rectangular shape, flanked at each corner with a square tower. The architecture of Renaissance style, with a particularly striking façade with its elegance: mullioned windows and pediments, arches alleviating lines, masks, carved balcony. The façade as a counterpoint to the massive roof to the frame chestnut shingles, three stories high. The interior is characterized by a staircase of an elegant openwork arches, serving all floors.
|
|
The Clover Leaf egg is made of an openwork pattern of stems and leaves of clover forming the shape of an egg. The gaps between the metal outline of the leaves are covered with transparent bright green enamel. A very thin golden ribbon paved with rubies curls through the foliage. At the time, the production of transparent enamel was still a new method, and often suffered from problems while cooling.
|
|
Arvert Market Hall A food market is held every Wednesday and Saturday morning (from 8:00am to 12:30pm) on the Market Square in the city centre. It brings together twice a week ten producers (fishmongers, butchers, vegetable sellers, etc.). The restructuring of the market place, initiated in the early 2010s, resulted in the construction of modern halls with simple lines and openwork. It was opened on 1 June 2011.
|
|
By 1454, this tower, replacing the older one, was complete. Above the roof of the Town Hall, the square tower body narrows to a lavishly pinnacled octagonal openwork. Atop the spire, stands a 5-metre-high gilt metal statue of the archangel Michael, patron saint of Brussels, slaying a dragon or devil. The tower, its front archway and the main building's facade are conspicuously off- centre relative to one another.
|
|
While Lintault often makes openwork tops, May is known for her embellished and painted quilts, using private symbols and figures. Beth Gutcheon and Michael James were quilting instructors, beginning a trend which still allows quilting artists to earn income from a pursuit close to their art. Gutcheon published The Perfect Patchwork Primer in 1973. James' book, The Quiltmaker's Handbook: a Guide to Design and Construction (1978) was more technical.
|
|
They are usually copper alloy or brass, plated (at least originally) with gold or silver. The heads are typically flat cast plates with elaborate and complex openwork decoration. The cross motif emerges from the decoration, with the whole design often forming a rotated square or circular shape, though the designs are highly varied and inventive. Many incorporate curved motifs rising from the base, which are called the "arms of Adam".
|
|
The Neoclassical building was modeled on Renaissance Italian palaces. Four corridors or bays surround a central patio that is porticoed for the lower two floors; then set back on the third floor, where there is an open gallery with an openwork balustrade functioning as a parapet; between sections of the parapet are Roman busts atop low walls. The building has bossed exterior walls;Málaga , malagayturismo.eu. Accessed online 2010-01-19.
|
|
The Lemuel Snow Jr. House is a historic house at 81 Benton Road in Somerville, Massachusetts. The -story wood-frame Queen Anne style house was built c. 1890. Although its main roof line is side-gable, there is a front cross gable projecting over the front facade which is supported by decoratively cut knee brackets. The front entry porch is supported by heavy turned pillars, and has an openwork frieze.
|
|
Pottery and stone incense burners were the most common while those made of metals were reserved for the wealthy. Artisans created these incense burners with moulds or the lost-wax method. Openwork zoomorphic incense burners with lynx or lion designs were popular in the Islamic world; bronze or brass examples are found from the 11th-century until the Mongol conquests of the 13th-century. These were especially popular during the Seljuq period.
|
|
The wedding took place on December 1, 1928, in the rather small St. John's Episcopal Church in Pleasantville, New York. At the wedding the bride wore a Swedish bridal crown in platinum and rock crystal and Queen Sophia's bridal veil in openwork lace. The veil was held by a coronet in silver and crystals, which was specially made by the Swedish court jeweler. Prince Gustaf Adolf was the Best man and Prince Sigvard the Marshal.
|
|
Painting of Emanuele Ne Vunda, Sala dei Corazzieri, Palazzo del Quirinale, Rome, 1615-1616. The Kinzemba is an openwork tunic made of raffia fiber. The Kinzembe is unique among Central African ceremonial garments for having a traceable chronology that spans several hundred years and for the fact that it can be linked with a specific historical figure. Ne Vunde was a Kongo ambassador to the Vatican who died in 1608, shortly after arriving in Rome.
|
|
Inscription of the early 15th century On the south side of the parish church, there is an exact copy of the original building inscription by Hans Lutz in local sandstone. The original is located in the openwork spire of the church. The inscription is in late Gothic minuscule and in Early New High German: Anno domini 1501 anfang / des paws am 18. tags winne / monet durch maister hanns / lutz stainmetz von schusenriet / volent des 16.
|
|
The bronze clock faces on the Tower Harkness Tower is 216 feet (66 m) tall, one foot for each year since Yale's founding at the time it was built. From a square base, it rises in stages to a double stone crown on an octagonal base, and at the top are stone finials. From the street level to the roof, there are 284 steps. Midway to the top, four openwork copper clockfaces tell the hours.
|
|
When Dimma finished, he thought that it had only taken him one day, when in reality it had taken forty. This miracle was attributed to Cronan."The Book of Dimma", St. Cronan, Roscrea In the 12th century the manuscript was encased in a richly worked cumdach or reliquary case, which remains with it at Trinity. On one face it has panels of openwork decoration in Viking Ringerike style over the wood case.
|
|
The large meeting or deliberation room on the third floor was by the interior designer T. Nieuwenhuis. Its interior fittings are made of dark tropical woods such as mahogany, ebony and coromandel. During a renovation in 1972 the stained-glass windows were shortened, original wall coverings were redone in a lighter shade and the original wall lamps, ceiling and chandelier removed. The original chandelier, executed in openwork brass, was replaced in 1974.
|
|
Rosary bead (WB 236), British Museum Prayer nuts, or Prayer beads (Dutch: Gebedsnoot) are very small 16th century small Gothic boxwood miniature sculptures, mostly originating from the north of today's Holland. They are typically detachable and open into halves of highly detailed and intrinsic Christian religious scenes. Their size varies between the size of a walnut and a golf ball. They are mostly the same shape, decorated with carved openwork Gothic tracery and flower-heads.
|
|
Another key form of Xianbei art is animal iconography, which was implemented primarily in metalwork. The Xianbei stylistically portrayed crouching animals in geometricized, abstracted, repeated forms, and distinguished their culture and art by depicting animal predation and same-animal combat. Typically, sheep, deer, and horses were illustrated. The artifacts, usually plaques or pendants, were made from metal, and the backgrounds were decorated with openwork or mountainous landscapes, which harks back to the Xianbei nomadic lifestyle.
|
|
The pointed arches come together slightly at their base, giving a mild horseshoe arch effect, and their internal edges are not cusped but lined with conventionalized "spearhead" projections, possibly representing lotus buds. Net, stone openwork screens, are introduced here; they already had been long used in temples.Blair, Sheila, and Bloom, Jonathan M., The Art and Architecture of Islam, 1250–1800, p. 151, 1995, Yale University Press Pelican History of Art, The height of the dome is .
|
|
There is cantilevered four- storey staircase with balusters made of cast iron and decorated with monograms (viz "NH") and openwork. The original "ascending omnibus" lift was part of the same structure; the gates survive. Near the staircase is a glazed dome with arabesque patterns. To the rear of the hotel, the land redeveloped in 1985 with an ornamental lake and new rooms replaced a garage which had been built on the site of some livery stables.
|
|
A form of double-drawnwork, where both warp and weft are removed at regular intervals, consists of wrapping the remaining threads into "bundles", using embroidery thread to secure them, thus creating something similar to a net. Then embroidery threads are woven in patterns into that net using needle weaving or needle darning. The result is a pattern of the design in white (or colored, depending on ethnic region) embroidery on the "openwork" background of netted cloth.
|
|
The main hall, wide and deep, is a circuit gallery-style () hall with a double eave pavilion () which is in front of the temple and forms the hall. The pillars before the door are engraved with two vivid wooden Chinese dragons in sore straits. The doors and windows of the main hall are carved with openwork patterns, which show proficient skills. Inner walls are painted with 10 frescos, mostly of which are colored after outlined by ink.
|
|
The Domesday Book of 1086 records the village as Radeclive. Parts of the Church of England parish church of Saint John the Evangelist date from 1200 but the tower is believed to be 100 years later. There are some rare early English pews decorated with poppy heads, and a Jacobean communion rail with openwork balustrading. The nave window contains some examples of 14th century stained glass that survived the English Reformation and the English Civil War.
|
|
The design combines elements seen in the pattern books of Gervase Wheeler, Calvert Vaux, and Samuel Sloan. Features associated with this style are broad gables, openwork brackets, long outside galleries, raised basement, and simple ornament. The house was first owned by a prosperous oysterman and abolitionist named Captain John J. Housman, then leased to tenants, and finally fell into the hands of the Brown family. The Browns had a number of notable family members in government in Richmond County.
|
|
Openwork disc brooch, Beeston Tor hoard The hoard consists of forty-nine Anglo-Saxon pennies dating to the ninth century, the newest pre- dating 875 AD. Twenty coins each were issued by King Burgred of Mercia (853-874) and Alfred the Great from Wessex (871-886). Of the remaining nine coins, seven were minted by Æthelred I, King of Wessex (865-871), one by Archbishop Ceonolth of Canterbury (833-870), and one by Æthelwulf, King of Wessex (839-858).
|
|
A Chinese open-work charm on display at the Museum of Ethnography, Sweden. Open-work charms () are a type of Chinese, Japanese, Korean,Ramsden, H.A. \- Corean Coin Charms and Amulets. and Vietnamese numismatic charms characterised by irregularly shaped "holes" or "openings" between their design elements known as openwork. The design of the amulets represent yin while the holes represent yang and their general purpose was to attract good fortune and ward off evil spirits and misfortune.
|
|
This makes for an open, shaded space for social activities, creates a natural cooling effect, and the height of the building offers protection in times of floods. New Khmer Architecture often uses this approach. Other adaptations to the climate are the use of wall panels, double walls and roofs (especially the typical VVV- shaped roofs that can be found many of the buildings in the style) to prevent direct sunlight. Loggias (covered balconies and walkways) and claustras (decorative openwork) offer shade.
|
|
Stacks Immediately inside the doorway is a circulation desk as well as a small reading room. The wall contains a vertically-ribbed wainscot wrapping around the south and north walls. The south wall contains a dumbwaiter shaft as well as bookshelves. In the rear of the library are double-height iron stacks with openwork gratings, manufactured by Hopkins & Co. There are glass floor panels on the second level of the stacks, which form a mezzanine level and contain iron railings.
|
|
On the underside of the middle corbel is a bust of John Butler in military uniform. Above the statue is a carved arch, then a small parapet and a large rose window, and a gable with an openwork parapet surmounted by a crocketed cross. At each side of the portal is an octagonal turret with a three-stage pinnacle. Outside the turrets are offices, each with a niche containing on one side the name of the architect and on the other the sculptor.
|
|
The most important collection of openwork brooches was found by a gravedigger in a Pentney, Norfolk churchyard in 1978. The six brooch treasure, later named the Pentney Hoard, is now in the British Museum. It is believed that five of the six the brooches date to the ninth century and one brooch was probably made in the tenth century. The largest brooch's size and several bosses (raised ornaments) are similar in style to brooches of the later ninth and tenth centuries.
|
|
The minaret was added later by the Mamluk amir Yalbugha al-Salimi as part of his restorations in 1393 or 1397. Only the lower part of al-Salimi's minaret survives, which is built of brick covered in stucco, topped with stone muqarnas, convex molding below, and a band of carved arabesques interrupted by openwork bosses in the middle. The upper part of the minaret by al-Salimi fell in 1412 and was replaced by a cylindrical finial most likely during the Ottoman period.
|
|
Among the 8 finger rings, one is a Jewish wedding ring. This outstanding piece is made of gold with a bezel composed of openwork Gothic tracery, capped by a facetted steeple. Made in the early fourteenth century, it is one of few existing medieval Ashkenazi wedding rings. The ring features a beautifully crafted, ornate, miniature version of a gothic tower and six engraved Hebrew letters that spell out mazal tov, meaning "good fate" or "good luck", on the tower's roof.
|
|
Hemstitched handkerchief. Ladder Hemstitch Hemstitch or hem-stitch is a decorative drawn thread work or openwork hand-sewing technique for embellishing the hem of clothing or household linens. Unlike an ordinary hem, hemstitching can employ embroidery thread in a contrasting color so as to be noticeable. In hemstitching, one or more threads are drawn out of the fabric parallel and next to the turned hem, and stitches bundle the remaining threads in a variety of decorative patterns while securing the hem in place.
|
|
The style of Chinese garden varies among economic groups and differs by dynasties. Rocks, water, bridges, and pavilions are among the most common features of scholar gardens for the wealthy classes, while courtyards, wells, and terra cotta fish tanks are common among the general population. Other features such as moon gates and leaky windows (openwork screens that pierce surrounding walls) are seen in both groups. The development of landscape design in China was historically driven by philosophies of both Confucianism and Taoism.
|
|
The architecture of the building was based on French and German Gothic Revival architecture. The chapel has a slender contour, finished with openwork masonry towers and it exhibits visible influences of St. Stephen's Cathedral in Vienna and Sainte- Chapelle in Paris. The chapel's shape and quality are recognised as in keeping with the masterpieces of Neo-Gothic architecture. The quality of the Łódź mausoleum is said to be such that there are only a handful of buildings in Europe of equal artistic quality.
|
|
Below the chalkboard doors depicting the Igbo lozenge and star motif are Sankofa birds which symbolize the need to learn from the past in order to prepare for the future. The oxblood steps, two levels of student benches, and wainscot with relief decorations suggest the polished clay of an Asante temple. Openwork screens are present on the windows as they are used in Asante structures to filter the sun's rays while allowing air flow. Six chieftain stools provide informal seating near a hand-carved professor's lectern.
|
|
The tower diameter is at the base. The last floor is reachable by helical stairs (visible in the top openwork part) or by lift. Auguste Perret, with the assistance of Marie Dormoy, art critic, came to Grenoble for two years, to do conferences and meet political and artistic circles in order to promote a "reinforced concrete order"; a reference to the antique orders. Made of the first reinforced concrete, the tower is also the first free-standing project made by Auguste Perret, its architect.
|
|
One of John Donald's signature techniques is the striking drum or crown mount. Framed by a protective basket of textured gold, gems are set at the end of tiny rods to form glittering openwork constellations. He has modestly said that the method was developed as a way round his lack of conventional skills, however fixing the narrow rods into their tiny screw-holes requires a high level of technical expertise. The mounts are wholly unique and allow a delicacy of setting almost impossible with more traditional designs.
|
|
This bands of text could include the name of the artist and the patron as well as prayers and good wishes for the owner. To insert coals and incense the head would be removed; the openwork geometric design would then allow the scented smoke to escape. Depending on the size, the incense burner could be either carried on a tray or carried by using the tail as a handle. In mosques, incense burners do not have a liturgical use or a specific design denoted for religious context.
|
|
The elaborate ikenga figures, especially those with superstructures, seem to correspond to the more advanced, title-taking stages in a man's life. The three-legged stool, known as the Awka stool, was reserved for one of the highest rank of the title system, the ozo title. The staff indicates authority, and comes in a complex hierarchy, from a simple wooden one to a rod of forged iron with brass rings. The most common type represented in ikenga is the nsuagilign, distinguished by openwork on the shaft.
|
|
After the incorporation of Forez into the Kingdom of France, the Talarus served the king in his armies. During the Renaissance, the Marquis de Talaru, returning from the Italian Wars, added Renaissance style embellishments: openwork facade, galleries to the inner court, painting in the chapel, sculptures. But the winters were harsh, and from 1533, the Talarus preferred to live in their Château d'Écotay or in Saint-Marcel-de-Félines, acquired by marriage in 1559. Chalmazel was transformed into a summer residence and began to be neglected.
|
|
As at Meissen, chinoiserie decoration was also often used, as were hunting and battle scenes.Battie, 94–95; Frick, 3–5 Vienna porcelain trembleuse cup from the du Paquier period, 1730 The Du Paquier period began the tradition of strong and varied colours, which was to remain a strength of Vienna porcelain. There was heavy use of openwork in some pieces. A very common style, called Laub- und Bandelwerk in German, has intricate painted borders or backgrounds of trellis, bandwork, palmettes and other very formalized plant motifs.
|
|
In 1863, pressures on space in the graveyard were alleviated by the opening of Preston Road cemetery. The church is capped by openwork balustrading matching the parapets which are from the 19th century, when major reconstruction work was undertaken from 1851 to 1860. The tower has two-light late 14th century windows on all sides at bell-ringing and bell-chamber levels, the latter having fine pierced stonework grilles. There is a stair turret to the north-west corner, with a weather vane termination.
|
|
The upper parts of each of these doorcases were carved with openwork decoration "the view whereof is intercepted by an artificial white curtain, likewise carved, but so natural that many have attempted to draw it on one side". The Corporation pew, in the south-east corner, had two sword-rests. There were high-backed seats for the churchwardens, their ends ornamented with the Lion and Unicorn. Attached to the wall in the vestibule was a frame containing shelves for loaves for distribution to the poor.
|
|
Daguerre worked in loose collaboration with the architect Henry Holland, though he emphasized in one Carlton House bill, "son Altesse Royale Seul m'a donné des orders""His Royal Highness Alone gave me orders" Bellaigue 1967:527. Similar sets of mahogany chairs by Georges Jacob, with openwork backs in lozenges and circles, are in the Royal Collection and in the Library, at Woburn, where Holland was executing alterations; they are likely to have been supplied through Daguerre.Dorothy Stroud, Henry Holland, His Life and Architecture (1966), p 79.
|
|
Mask of Semar for traditional Javanese theater performance. In depictions, Semar appears with a flat nose, a protruding lower jaw, a tired eye, and bulging rear, belly, and chest. He wears a checkered hipcloth, symbolizing sacredness. Like the other panakawan, the wayang kulit puppet does not have the elaborate openwork and ornamentation characteristic of the heroes In wayang wong, Semar always leans forward, one hand palm up on his back and the other extended partly forward, moving up and down, with an extended forefinger.
|
|
V. Glenn, Romanesque and Gothic: Decorative Metalwork and Ivory Carvings in the Museum of Scotland (National Museums of Scotland, 2003), , pp. 147 and 186–191. The Skye Chess piece is a single elaborate piece in carved walrus ivory, with two warriors carrying heraldic shields in a framework of openwork vegetation. It is thought to be Scottish, of the mid-thirteenth century, with aspects similar to both English and Norwegian pieces.V. Glenn, Romanesque and Gothic: Decorative Metalwork and Ivory Carvings in the Museum of Scotland (National Museums of Scotland, 2003), , pp. 146–147 and 178–181.
|
|
Polish examples of churches with domed transepts include a collegiate church in the city of Żółkiew (1606–1618), a Franciscan church in Święta Anna near Przyrów (1609–1617), (1624–1627), (1624–1629), and (founded in 1631). In Poland, polygonal buildings and earlier medieval towers were often capped with domes in the Renaissance or Baroque styles. The Renaissance domes were generally onion domes stacked on top of one another and separated with so-called lanterns of openwork arcades. An example is the tower at the Basilica of the Holy Trinity in Chełmża.
|
|
Tall Gothic central spires remain at Salisbury and Norwich, that at Chichester having been rebuilt in the 19th century after its collapse. The spire of Salisbury at is the tallest in Britain. It is also the tallest 14th-century spire, the tallest ashlar masonry spire (in contrast to the openwork spires of Germany and France), and tallest spire in the world that remains from the Medieval period that has not been entirely rebuilt. However, it was greatly surpassed in height by the spires of Lincoln and Old St. Paul’s.
|
|
Céline Arnauld (born Carolina Goldstein on 20 September 1885, Călăraşi (Romania), died on 23 December 1952 by suicide in Paris) was a writer associated with Dadaism. Arnauld’s poetry appears earliest in her first published volume of 1914, titled La Lanterne magique (The Magic Lantern). Poèmes à claires-voies (Openwork Poems) of 1920, Point de mire (Focal Point) of 1921, and Guêpier de diamants (Diamond Trap) of 1923 followed during the Paris Dada years. She finds its fullness in La nuit reve tout haut (1934) and in Heures intactes (1936).
|
|
In war, the shell, called jinkai, or "war shell", was one of several signal devices used by Japanese feudal warriors known as samurai.Warriors of Medieval Japan, Stephen Turnbull, Osprey Publishing, 2007 P.106 A large conch would be used and fitted with a bronze (or wooden) mouthpiece. It would be held in an openwork basket and blown with a different combination of "notes" to signal troops to attack, withdraw, or change strategies, in the same way a bugle or flugelhorn was used in the west. The trumpeter was called a kai yaku (貝役).
|
|
Tower and hangar for the Antenna Radio Comintern was built in the courtyard of the house 51 (the numbering of houses was changed later) on the orders of Lenin in 1922. Next in 1958, another similar tower was built in a similar openwork design, but lower in height but it was subsequently demolished. From the very beginning of television broadcasting in Moscow television viewers remember this address: 113162, Moscow, Shabolovka 37. After the construction of Ostankino television center in on Shabolovka there were editorial television networks, particularly for child entertainment, sports, literary and dramas.
|
|
Mary Callery (June 19, 1903 - February 12, 1977) was an American artist known for her Modern and Abstract Expressionist sculpture. She was part of the New York School art movement of the 1940s, 1950s and 1960s. It is said she "wove linear figures of acrobats and dancers, as slim as spaghetti and as flexible as India rubber, into openwork bronze and steel forms. A friend of Picasso, she was one of those who brought the good word of French modernism to America at the start of World War II".
|
|
The carving of the tablets as a window through which the light of the Torah shines is unusual. Below it is another window, a carved image of a Menorah with carved, scrolling openwork surmounted by a quotation from Psalm 5:8: "And in thy fear will I worship toward thy holy Temple." This is surrounded by symbolic references to the ancient Temple service. At the right, priestly hands are carved in a gesture of blessing, on the left there is a basket of fruit representing the Temple offerings.
|
|
The focal point of the lowest order are openwork tsarist gates, which were icons of the Annunciation and the Evangelists. On both sides of the gate were traditionally arranged figures of Christ and the Virgin Mary. On the left side of the tsarist gates are icons of the prophet Elisha, and St. Vladimir, on the right, St. Stephen and Mary Magdalene. The second row forms (left to right) an icon of the Mother of God, the Nativity with the Mother of God, the Last Supper, the Baptism of the Lord and the Birth of Christ.
|
|
Borgund's current dragon heads possibly date from the 18th century, however original dragon heads remaining on earlier structures, such as Lom Stave Church and nearby Urnes Stave Church, the oldest still extant stave church, also in the Sogn district, suggest that there probably would have been similar dragon heads there at one time.Hauglid (1970), p. 13 Borgund is one of the only churches to still have preserved its ridge crests, carved with openwork vine and vegetal repeating designs. The dragons on top of the church were often used as a form of drainage.
|
|
Needle lace borders from the Erzgebirge mountains of Germany in 1884, displayed in the Victoria and Albert Museum. Needle lace, detail Needle lace is a type of lace created using a needle and thread to stitch up hundreds of small stitches to form the lace itself. In its purest form, the only equipment and materials used are a needle, thread and scissors. The origins of needle lace date back to the 16th century in Italy, and its origins may be found in the openwork on linen technique called reticella.
|
|
Goldman, N., in Sebesta, Judith Lynn, and Bonfante, Larissa, editors, The World of Roman Costume: Wisconsin Studies in Classics, The University of Wisconsin Press, 1994, pp. 105-113 Lighter than the openwork caligae favoured by the Roman military, calcei were considered a distinctive part of Rome's public, civilian "national dress", which centered on the toga as an exclusive mark of Roman male citizenship. The calcei of most ordinary citizens were probably a natural brown tanned leather. The equestrian class had its own distinctive form of calceus, with crescent-shaped buckles.
|
|
In 1998, by decree of Yury Luzhkov, a state institution, the Moscow House of Nationalities, was created in the building of the former Hospice House. In 1999–2003, the reconstruction of the former Hospice House was carried out, thanks to which it was possible to recreate the appearance of the building, which it had in the 18th century. During the work, the masonry was renovated, vaulted ceilings were strengthened, destroyed columns made of white stone were restored, window openings were shifted, and stairs were restored. The fence with openwork gates found its former splendor.
|
|
Though the NRHP also states that the original house was enlarged in the late 1860s or 1870s without specification to the work done at the time. The additions include a bay window on the facade and openwork on the porch sides. The later alterations to the building worked to complement the distinctive bargeboards of the cottage with the work on the eaves and window heads of the addition. The house has an unconventional floor plan which has two doorways on opposite ends of the original cottage with the main entrance formerly on the east side.
|
|
He moved to New York in the 1930s, and his work reflects a move into the Cubist and Surrealist schools. According to Bob Mattison, Marshall R. Metzgar Professor of Art History at Lafayette College, Easton, Pennsylvania, “Moving away from simply realist depictions in public monuments, Grippe and his colleagues embraced Cubism with its openwork multidimensional view of the world and Surrealist imagery drawn from the subconscious thus bringing American sculpture into the modern era.”"Allentown Art Museum receives major gifts from Peter Grippe estate". Retrieved January 7, 2011.
|
|
He simplified the nave's groined vaults, using the same advanced techniques. He added on top of the building an openwork, traceried parapet. The main façade of the monastery has an original Portuguese style, a mixture of Rayonnant and Flamboyant Gothic design with strong horizontal lines contrasting with elements of English Perpendicular, that finds few parallels in Europe. Master Huguet built the square Founder's chapel between 1426 and 1434 on orders of King João I to become the first royal pantheon in Portugal, a mausoleum for the Aviz dynasty.
|
|
The gothic archiepiscopal palace, contemporary to the cathedral, was commissioned by William of Flavacourt. He supervised the construction of the watchtower and the great hall of which only the gable and the openwork remain. That is where was held the last of Joan of Arc's trials, which saw the saint sentenced to death on 29 April 1431, and where also took place her procès en réhabilitation (trial in rehabilitation) in 1456. The part of the palace where the archbishops resided was lying along the cour des Libraires (Courtyard of the Librarians).
|
|
Detail A wheel chandelier is also called a ' (crown) and circular chandelier.Julia de Wolf Addison: Arts and Crafts in the Middle Ages Medieval Histories Like the later and larger Hezilo chandelier, the Azelin chandelier is a circular hoop of gilt copper and tinplate, decorated with twelve towers and twelve gatehouses. However, the decoration is much sparser, limited to a braided bar in the middle of the hoop and an openwork wreath of foliage on the upper edge of the hoop. The twelve gatehouses, to which the ropes holding the chandelier up are attached, are basically rectangular in shape with rounded arches and roofing.
|
|
Catholic thurible or chain censer, designed for swinging Censer from Tibet, late 19th century, silver A censer, incense burner, perfume burner or pastille burner is a vessel made for burning incense or perfume in some solid form. They vary greatly in size, form, and material of construction, and have been in use since ancient times throughout the world. They may consist of simple earthenware bowls or fire pots to intricately carved silver or gold vessels, small table top objects a few centimetres tall to as many as several metres high. Many designs use openwork to allow a flow of air.
|
|
Romans used a wide variety of practical and decorative footwear, all of it flat soled (without heels). Outdoor shoes were often hobnailed for grip and durability. The most common types of footwear were a one-piece shoe (carbatina), sometimes with semi-openwork uppers; a usually thin-soled sandal (solea), secured with thongs; a laced, soft half- shoe (soccus); a usually hobnailed, thick-soled walking shoe (calcea); and a heavy-duty, hobnailed standard-issue military marching boot (caliga). Thick- soled wooden clogs, with leather uppers, were available for use in wet weather, and by rustics and field-slavesGoldman, N., pp.
|
|
The Mid-America Science Museum is a science museum located in Hot Springs, Arkansas. It has more than 100 hands-on exhibits — both traveling and permanent exhibits. Many permanent exhibits were built in the early 1980s, such as a "ball machine" that hits billiard balls all around an elaborate track. Several of Rowland Emett's "things" (kinetic sculptures) have been at the museum since it opened, including The Featherstone-Kite Openwork Basketweave Mark Two Gentleman’s Flying Machine, as well as several that appear in the film Chitty Chitty Bang Bang as inventions of that film's character Caractacus Potts.
|
|
The screen bears the coat of arms of Sir Leoline Jenkins (principal 1661–1673) and, until 1899, also bore Thelwall's coat of arms. His arms were moved to a position above the door (where, says one writer, "they can scarcely be seen") when an organ by J. J. Binns was installed in the ante-chapel in 1899. The current organ, by William Drake, was installed in 1994 to replace the Binns organ. The screen has open ovals rather than blank ovals – an example, said Pevsner, of "the importance given to openwork carving" in the later 17th century.
|
|
Like many depictions of Etruscan women and their lovers, she is shown as larger and therefore more important or powerful than the man: This has been taken as an indication of the high status of Etruscan women. The same scene is depicted on a mirror handle in high relief openwork; Cephalus is again quite a lot smaller (and younger) than Thesan, who is not winged this time, but whose cloak billows behind her in the breeze. She smiles down at young Kephalos as She lifts him up, and he is nude save for a short cloak and hunting boots.
|
|
An S-twist thread is out on the front warp (right warp) and a Z- twist on the back warp (left warp, reverse warp). All the warp ends pass through a sley with individual perforations- to keep the threads from tangling. On a machine with 3000 front warp ends, that will mean 6000 perforations, all front warp ends will be of the same count, and all back warp ends will be of the same count, though the two warps can carry different counts. The warp threads interact with the brass bobbin threads to form the net or openwork ground.
|
|
Because of its unique location in the duchy of Lorraine, where it was exempt from French laws designed to protect the royal monopoly of the Sèvres porcelain manufactory, Niderviller flourished for nearly twenty years, unlike other French porcelain manufacturers of the period. Baron de Beyerlé authored two known books in 1760 and 1765, both dealing with ceramic technique, secrets of the trade of ceramics, firing of ceramics, openwork, and pilot wheels imitating baskets. Instrumental in the discovery and development of porcelain as we know it today, his books are still considered hallmarks of that period. Porcelain baskets, Niderviller, ca 1785, Hallwyl Museum, Stockholm.
|
|
Venetian woman with a pomander A pomander, from French pomme d'ambre, i.e., apple of amber, is a ball made for perfumes, such as ambergris (hence the name), musk, or civet. The pomander was worn or carried in a vase, also known by the same name, as a protection against infection in times of pestilence or merely as a useful article to modify bad smells. The globular cases which contained the pomanders were hung from a neck-chain or belt, or attached to the girdle, and were usually perforated in a variety of openwork techniques, and made of gold or silver.
|
|
The church was rebuilt in the second half of the 15th Century and given a perpendicular tower with a peal of ten bells. Today it still has a crown of openwork battlements, reminiscent of churches in the West Country of England, and is dated c.1490 because of the similar Jasper Tower of Llandaff Cathedral which was built at this time. After the foundations of St Mary's were destroyed by the Bristol Channel flood of 1607, the two churches were worked as a dual-location parish until all main services were moved to St John in 1620.
|
|
Kutani ware also had a complicated history, and in this period was produced as both porcelain and earthenware for export.Tharp, 83 Hirado ware, in a very fine white porcelain, had been a development of the gap between the export periods, and was much used for small figures and complicated forms, often using openwork, which the fine material was suited to.Tharp, 82–83; Singer and Goodall-Cristante, 17–18, 21, 22, 25, 40 The Japanese porcelain-makers rather over-reached themselves, and in the 1880s there was something of an over-reaction, and Japanese porcelain acquired a reputation for poor quality, and prices and demand fell.
|
|
The whiteness of ivory also reflects the symbolism of white chalk, whose ritual purity is associated with Olokun. The openwork of the tiara and collar represent tiny heads of Portuguese men in the tiara of both the Met and the British Museum examples, with eleven figures in the British Museum mask, and in the Met mask seven figures of Portuguese men alternating with six representations of mudfish, the West African lungfish. The Portuguese, who had only recently arrived in the area, were a symbol of power and affluence to the royal court. Their iconography is identifiable by their long hair, hanging mustaches (often described as bearded), and domed hats.
|
|
According to Irene Giustina, dome construction was one of the most challenging architectural problems until at least the end of the 19th century, due to a lack of knowledge about statics. By the 1860s and 1870s, German and other European engineers began to treat iron domes as collections of short straight beams with hinged ends, resulting in light openwork structures. Other than in glasshouses, these structures were usually hidden behind ceilings. Proportional rules for an arch's thickness to span ratio were developed during the 19th century, based on catenary shape changes in response to weight loads, and these were applied to the vertical forces in domes.
|
|
The festive external appearance of the building is due to its Art Nouveau mouldings, intertwining decorations, elliptical attic and elegant bas-reliefs. The two front façades feature rich and original decor with pronounced manifestations of the Art Nouveau style: smooth curved lines repeated in window openings, balcony framings, and in the winding lines of the openwork ornament of balconies and friezes. Particularly expressive are the various forms and finishes of the attic, the platbands and the locks of window openings, plaster macaroons, niches with stucco decorations and other elements. The two entrances are decorated with vertical partitioning of the wall, complex parapets and large windows.
|
|
They probably date to between about 1000 and 650 BC.EI, I The bronzes tend to be flat and use openwork, like the related metalwork of Scythian art. They represent the art of a nomadic or transhumant people, for whom all possessions needed to be light and portable, and necessary objects such as weapons, finials (perhaps for tent-poles), horse- harness fittings, pins, cups and small fittings are highly decorated over their small surface area.Frankfort, 343-48; Muscarella, 117 is less confident that they were not settled. Representations of animals are common, especially goats or sheep with large horns, and the forms and styles are distinctive and inventive.
|
|
The quality of the material and the intricacy of the embroidery were often signs of the status and wealth of the wearer. The embroidery of the barong tagalog are commonly placed on a rectangular section on the front of the chest (known as pechera, "shirt front", from Spanish pecho, "chest"), and/or over the entire shirt (sabog, from Tagalog for "scattered"). They feature various embroidery techniques, including calado and doble calado ("pierced" and "double-pierced", types of openwork drawn thread embroidery), encajes de bolilio (Venetian lace), and sombrado (shadow embroidery). They can also have other kinds of ornamentation, like alforza (pleats), suksuk (weft floats), and even hand- painted designs.
|
|
Hardwick's skyline features six rooftop banqueting house pavilions with Bess of Hardwick's initials "ES" (Elizabeth Shrewsbury) in openwork. Chimneypiece in High Great Chamber Hardwick's long gallery in the 1890s Hardwick's long gallery today Hardwick Hall in Derbyshire, is an architecturally significant Elizabethan country house in England, a leading example of the Elizabethan prodigy house. Built between 1590 and 1597 for the formidable Bess of Hardwick, it was designed by the architect Robert Smythson, an exponent of the Renaissance style of architecture. Hardwick Hall is one of the earliest examples of the English interpretation of this style, which came into fashion having slowly spread from Florence.
|
|
On the reverse side of the badge there are four characters - "勲功位章" ("Order of Merit Badge"). The sign through a rectangular bracket on the upper beam is attached to an intermediate link of light green enamel, which is an openwork slotted pentagon, into which a similar smaller pentagon and a spiral are inscribed, symbolizing clouds. At the upper end of the intermediate link there is a transverse eyelet with a ring for attaching to the order's ribbon. The award was worn on a blue sash with white stripes, representing the sun and a white sun, from the right shoulder and a breast star.
|
|
Leeds Pottery tulip vase, circa 1780, pearlware painted in underglaze blue, and green overglaze enamel Leeds Pottery, also known as Hartley Greens & Co., is a pottery manufacturer founded around 1756 in Hunslet, just south of Leeds, England. It is best known for its creamware, which is often called Leedsware;Hartley Greens it was the "most important rival" in this highly popular ware of Wedgwood, who had invented the improved version used from the 1760s on.Hughes, 45 Many pieces include openwork, made either by piercing solid parts, or "basketwork", weaving thin strips of clay together. Several other types of ware were produced, mostly earthenware but with some stoneware.
|
|
X lattice and upper flange of Crathie Bridge Crathie Bridge (1854–1857) is a 125 foot single span across the River Dee to the royal Balmoral estate. The bridge had first been drawn with a form of the Brunel truss echoing his Royal Albert Bridge at Saltash. The bridge as constructed though used the C-shaped open form of the upper flange, as used for the Eastern Bengal Railway. As the bridge was only for light road traffic, it was also possible to replace the solid web of the girder above the roadway level with an openwork lattice, making the view from the bridge visually more appealing for its illustrious resident.
|
|
From the Qing dynasty furniture made for export, mostly to Europe, became a distinct style, generally made in rather different shapes to suit the destination markets and highly decorated in lacquer and other techniques.Grove Chinese furniture for sitting or lying on was very often used with cushions, but textiles and upholstery are not, until very late historical periods, incorporated into the piece itself in the Western manner. Openwork in carved wood or other techniques is very typical for practical purposes such as chair- backs, and also for decoration. The Ming period is regarded as the "golden age" of Chinese furniture, though very few examples of earlier pieces survive.
|
|
Gold openwork plaque showing Amenemhat IV, on the British Museum website In 2010, a report on continuing excavations at Wadi Gawasis on the Red Sea coast notes the finding of two wooden chests and an ostracon inscribed with a hieratic text mentioning an expedition to the fabled Land of Punt in Year 8 of Amenemhat IV, under the direction of the royal scribe Djedy.El-Sayed Mahfouz: Amenemhat IV at Wadi Gawasis, Bulletin de l'Institut français d'archéologie orientale A. (BIFAO) 2010, vol. 110, [165-173, 485, 491 [11 p. , , see also Two fragments of a stela depicting him and dating to his Year 7 were found at Berenice on the Red Sea.
|
|
Then, upon turning around, there is a small, secluded courtyard. The enclosure of the little courtyard to the front of the tower has scroll-shaped, carved wall, as is a folk saying "Open the door to see the mountain (開門見山)". This is more like "Open the door to read the book," probably a metaphor for "There are advantages to reading (開卷有益)"! Even more enchanting is what is on the walls: fruit-shaped openwork windows, borrowing pomegranates, pumpkins, immortality peaches, and persimmons as the patterns, which respectively carry connotations of fortune (福), emolument (祿), longevity (壽), and happiness (喜).
|
|
Kermesse of Oudenarde, 1617, by Bartholomeus Grondonck The Oudenaarde Town Hall was a late flowering of secular Brabantine Gothic architecture, carrying on the stylistic tradition of the town halls at Leuven, Brussels, and Middelburg. Above the ground-story arcade with vaulted ceiling, the building displays typical features of its regional forerunners: a richly decorated facade with pointed-arch windows separated by canopied niches, and a steep, dormered roof surrounded by an openwork parapet. The niches, although designed to contain statues, stand empty. Atop the central belfry tower of six stories with three terraces, a stone crown supports a gilded brass figure of Hanske de Krijger (Hans the Warrior), mythical guardian of the city.
|
|
Ivory was never so important after the end of the Middle Ages, but continued to be used for plaques, small figures, especially the "corpus" or body on a crucifix, fans, elaborate handles for cutlery, and a great range of other objects. Dieppe in France became an important centre, specializing in ornate openwork and model ships, and Erbach in Germany. Kholmogory has been for centuries a centre for the Russian style of carving, once in mammoth ivory but now mostly in bone.Osborne, 488-491 Scrimshaw, usually a form of engraving rather than carving, is a type of mostly naïve art practised by whalers and sailors on sperm whale teeth and other marine ivory, mainly in the 18th and 19th centuries.
|
|
The gaps in the openwork probably revealed a gold or gilded backing behind.Lasko, 88–89 Two further panels are known from 16th-century drawings, and the original number was probably significantly larger, as many common subjects from the Life of Christ are absent, while some surviving subjects are rather rare. Lasko suggests that fewer than half the original group survive, and mentions the Carolingian cycle of 62 wall paintings at Saint John Abbey, Müstair, which includes seven of the fifteen narrative scenes in the ivories. The strong emphasis among the surviving plaques on episodes from the gospel accounts of Christ's period of ministry might suggest that they decorated a pulpit rather than an altar.
|
|
The prefix Great was added to distinguish the mine from the other sixteen or so mines of the same name. In the northern section the Carnmeal lode adjoins Wheal Vor and reached a depth of 150 fathoms. The main part of the mine, 300m to the south and considered to be of great antiquity, is a large openwork (known as a gunnis or coffin) divided in two by a narrow ridge. In 1868 the Carnmeal lode was abandoned and five engines in the southern part of the mine were put up for sale although the mine managed to carry on until 1912 under different companies, and in 1908–09 under the name New Great Wheal Fortune.
|
|
Renaud de Cormont was a French Gothic Era master-mason and architect who worked on the Cathedral of Notre-Dame in Amiens after his father, Thomas de Cormont, who is believed to have been a disciple of Robert de Luzarches. There is speculation that Thomas may have been Robert's disciple. Renaud de Cormont, continued his fathers work on Notre-Dame of Amiens in the 1240s, believed to bring a form of architectural revolution to upper transept and upper choir of Amiens Cathedral through his introduction of a glazed triforium, openwork flyers, and new decorative forms. Renaud altered the eastern wall of the transept and upper levels of the choir into an ornate glass box held by extremely thin flyers.
|
|
The name means "Pytta's place" from Pytta the Saxon, however there is evidence of much earlier occupation from a Bronze Age sword dating from 200 BC found on Pitney Moor. It was recorded in the Domesday book as Petenie supporting the alternative meaning of 'the traversing stream' from the Old English pæþþan and ea. Several significant archaeological finds have been made at Pitney, including the remains of a Roman villa (roof tiles, pottery, and mosaic) uncovered in the 19th century, and the Pitney brooch, a Saxon cast bronze openwork brooch, modelled after a late Viking design and now in the British Museum. The medieval manors originated in grants made to Richard Rivel (of Curry Rivel) from the Royal manor of Somerton between 1190 and 1003.
|
|
The famous khachkar at Goshavank known as "Aseghnagorts" (The Needlecarved) The khachkars created by the carver Pavgos in Goshavank stand out among the rest. The best of them is a 1291 khachkar with the maker's name carved in the bottom left star, which is one of the most intricate examples in existence. The finely carved lacy ornaments are arranged in layers in which the basic elements of the composition — a cross on a shield-shaped rosette and eight-pointed Starr filling the corners of the middle-cross section—show clearly. The intricate openwork ornaments vary — a clear-cut geometrical pattern constitutes the background, and the accentuating elements form a complicated combination of a floral and geometrical ornament which never repeats itself.
|
|
She then embroidered a gold thread on fifty-four stacked canvas-covered boxes. Another example of her sculpture is 100 Words of Love. It is a globular, openwork sculpture the structure of which consists of a web of flat, linear, flowing elements that are, in fact, one hundred different words for love in the Arabic language, written also in the Arabic script. It is perhaps appropriate, given that Amer is still at an early stage of exploring the possibilities of her new sculptural language, that 100 Words of Love, Baiser #1 and Baiser #2, and Blue Bra Girls propose different ways in which the manipulation of line, shape, and color can yield an infinite range of compositional and design effects, even within the limitation of globular form.
|
|
The principal stairway is now covered by a bold vaulting that serves as base for one half of the church. Façade or west front View to the west from inside the main entrance. In the distance to the right stands the monumental statue of St. Joseph in Espaly-Saint-Marcel. The façade, striped in courses of white sandstone and black volcanic breccia, is reached by a flight of sixty steps, and consists of three orders: the lowest composed of three high arcades opening into the porch, which extends beneath the first bays of the nave; above are three central windows that light the nave; above them are three gables, one the gable-end of the nave, flanked by two openwork screening gables.
|
|
The technique has its own descriptive name in the Ukrainian language, which might be translated into English as "layerings". The technique for doing Poltava-style "layerings"-merezhka basically involves withdrawing sets of parallel threads of weft while leaving others in place, then using the antique hem-stitch (called prutyk) and this special "layerings" technique to create both the openwork "net" and the design of embroidering threads upon the "withdrawn" part of cloth. The designs which can be created in this way can be simple and narrow, or as complex and wide (high) as any one-colored embroidery design. Prutyk (may also be spelled prutik) is the "bunch" (switch or stick) that is created when you pull together each bunch of three threads together using hem- stitch.
|
|
Pyxis of al-Mughira from Islamic Spain, 968. Casket, ivory and silver, Muslim Spain, 966 Ivory is a very suitable material for the intricate geometrical patterns of Islamic art, and has been much used for boxes, inlays in wood and other purposes. From 750-1258 A.D., the Islamic world was more prosperous than the West, and had much easier access to ivory from both India and Africa, so Islamic use of the material is noticeably more generous than European, with many fairly large caskets, round boxes that use a full section of tusk (left), and other pieces. Openwork, where a panel of ivory is cut right through for parts of the design is very common, as it is in Islamic woodwork.
|
|
The spire did not last long: a lightning strike in 1493 reduced it to ashes, and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a- half centuries, before it, too, fell victim to flames in 1741. The spire was never replaced again, thus making the current height of the building somewhat lower than in the past; but an openwork stone parapet in Gothic Revival style was added to the rooftop in 1822. A poem by Henry Wadsworth Longfellow, titled "The Belfry of Bruges," refers to the building's checkered history: :In the market-place of Bruges stands the belfry old and brown; :Thrice consumed and thrice rebuilded, still it watches o'er the town.
|
|
In 1824 the terrace was destroyed in a flood, and had to be restored, with stone balusters replaced with a cast-iron openwork grille. Expansion across the meadow's Neva frontage continued in the 1780s with the construction of the service wing of the Marble Palace, and the and the Saltykov Mansions. The Betskoy Mansion, now the home of the Saint-Petersburg State University of Culture and Arts, was built between 1784 and 1787 by Jean-Baptiste Vallin de la Mothe, stands on the west bank of the canal, close to the Upper Swan Bridge. The canal's banks were reinforced in 1934, though a similar strengthening project planned for 1941 had to be cancelled after the Axis invasion of the Soviet Union.
|
|
The foreheads of pectoral masks are inlaid with iron rectangles, known as ikan aro ("cane of eye"), which give the face the look of determination, fierceness and power that is appropriate to a ruler. The ornaments that chiefs wear over their left hip most often depict the human face but are different in form from the pectorals. They have a decorative flange around the lower portion of the face, usually representing either coiled mudfish, an openwork lattice or guilloche pattern, or a fluted collar, with a row of small loops directly below or behind it. A collar of coral beads is depicted below the face, and above the face is a latticework coral-beaded cap with clusters of coral beads at the edges.
|
|
Saint Peter's Church, as seen from Rector De Somerplein In 1458, a fire struck the old Romanesque towers that still flanked the West End of the uncompleted building. The first arrangements for a new tower complex followed quickly, but were never realized. Then, in 1505, Joost Matsys (brother of painter Quentin Matsys) forged an ambitious plan to erect three colossal towers of freestone surmounted by openwork spires, which would have had a grand effect, as the central spire would rise up to about 170 m, 550 jaar Stadhuis Leuven making it the world's tallest structure at the time. Insufficient ground stability and funds proved this plan impracticable, as the central tower reached less than a third of its intended height before the project was abandoned in 1541.
|
|
The motif of the three hares is used in a number of medieval or more recent European churches, particularly in France (e.g., in the Basilica of Notre-Dame de Fourvière in Lyon) and Germany. It occurs with the greatest frequency in the churches of Devon, England where it appears to be a recollection of earlier Insular Celtic design such as the triaxially symmetric triskele and other Romano-British designs which are known from early British 'Celtic' (La Tene) metalwork such as circular enamelled and openwork triskel brooches (fibulae). The motif appears in illuminated manuscripts amongst similar devices such as the anthropomorphic "beard pullers" seen in manuscripts such as the Book of Kells, architectural wood carving, stone carving, window tracery and stained glass.
|
|
A 2-1/2 story brick structure which is three bays wide with a gable roof, it is distinguished by its two round-headed dormers, windows with period shutters, and front entrance with entablature and pilasters. Note: This includes The Miller mansion, which was built circa 1870 and is located at 191 South Tulpehocken Street, is one of several Second Empire-style, three-story homes that were designed with mansard roofs, round- headed dormers, and cornices with carved brackets. A brick structure, its most distinguishing features are its elaborately decorated front porch and balcony with openwork panels and turned posts. Note: This includes Highspire, the brick, three-story, three-bay-wide, Queen Anne home which was built in 1900, is one of the more prominent structures in this district.
|
|
A Hunnish cauldron Detail of Hunnish gold and garnet bracelet, 5th century, Walters Art Museum A Hunnish oval openwork fibula set with a carnelian and decorated with a geometric pattern of gold wire, 4th century, Walters Art Museum There are two sources for the material culture and art of the Huns: ancient descriptions and archaeology. Unfortunately, the nomadic nature of Hun society means that they have left very little in the archaeological record. Indeed, although a great amount of archaeological material has been unearthed since 1945, as of 2005 there were only 200 positively identified Hunnic burials producing Hunnic material culture. It can be difficult to distinguish Hunnic archaeological finds from those of the Sarmatians, as both peoples lived in close proximity and seem to have had very similar material cultures.
|
|
For Watson they are "outstanding examples of the naturalistic pseudo- portrait of the period, displaying to great perfection an idealization of the face", where "only the elongation of the ear-lobes follows [traditional Buddhist] iconography".Watson, 123 The green hair of some of the figures is also a departure from naturalism. The findspot in 1912 seems not to have been the original location of the group, which is unknown, and the set of 16 or 18 figures was probably made to be set on platforms along the walls of a "luohan hall" in a temple.Steinhardt, 7–8; Gillman, 126; Gillman Lecture, 35:00 – 37:00 The openwork bases were intended to suggest mountains; paintings of luohans often show them perched on small peaks, indicating the mountain retreats of the ascetic monk.
|
|
In the Architecture of the Veil,Fowler Museum, UCLA Benyahia's work was described as acquiring its theme: > from the Mashrabiya, the openwork screens used in Mediterranean Islamic > architecture to cover windows and balconies, allowing those inside—typically > women—to view the outside world without being seen. The installation > provides a beautiful and dynamic exploration of gender as well as the > dialectic between interior and exterior, light and shadow, concealment and > revelation, and private versus public space. > > What it is difficult to convey in words, however, is how beautiful and > entrancing her work is. Seduced by colour and pattern, the viewer is invited > to negotiate the imagined boundaries within the contemporary space of the > gallery whilst her use of traditional North African designs also explore the > idea of infinity.
|
|
A number of objects exist in the form of firedogs, candlesticks, caskets, plaques and vases, the body of which is of brass roughly cast with a design in relief; the hollow spaces between the lines of the design are filled in with patches of white, black, blue or red enamel, with very pleasing results (cf. Fig. 7). The nearest analogy is found in the small enamelled brass plaques and icons produced in Russia in the 17th and 18th centuries. The second use of brass is found in a group of locks of intricate mechanism, the cases of which are of brass cast in openwork with a delicate pattern of scroll work and bird forms sometimes engraved. A further development shows solid brass cases covered with richly engraved designs (cf. Fig. 8).
|
|
Tbilisi Open Air Museum The museum is located west to Turtle Lake on a hill overlooking the Vake district, Tbilisi. It is essentially a historic village populated by buildings moved there from all main territorial subdivisions of Georgia. The museum occupies 52 hectares of land and is arranged in eleven zones, displaying around 70 buildings and more than 8,000 items. The exhibition features the traditional darbazi-type and fiat-roofed stone houses from eastern Georgia, openwork wooden houses with gable roofs of straw or boards from western Georgia, watchtowers from the mountainous provinces of Khevsureti, Pshavi, and Svaneti, Megrelian and Imeretian wattle maize storages, Kakhetian wineries (marani), and Kartlian water mills as well as a collection of traditional household articles such as distaffs, knitting-frames, chums, clothes, carpets, pottery and furniture.
|
|
The principal crowns worn by Ethiopian emperors and empresses regnant are unique in that they are made to be worn over a turban. They usually have the form of a cylinder of gold (although some of the crowns at the Church of Our Lady Mary of Zion in Axum have the form of a gold cube) with a convex dome on the top with usually some form of cross on a pedestal. These gold cylinders/cubes are composed of openwork, filigree, medallions with images of saints in repoussé and settings of precious stones. Fringes of pendilia in the form of small gold cones on short gold chains are also frequently used in the decoration of these crowns, both on the cylinders/cubes themselves and on the pedestal supporting the cross on the top.
|
|
In the side jambs are carved six figures, after the rest of the portal, four of which represent Moses, Aaron, Saint Peter and Paul the Apostle; the other two are not easily identifiable. Although the portal concentrates all the interest, it can not be ignored the rest of the gable, escorting robust buttresses topped with pinnacles. It's later work, of the late-13th century. Its two upper sections, structured along the lines of the central body of the facade of Saint Mary, are occupied by a rosette and on it a set of open gallery with three arches with soffits openwork with triple quatrefoil and supported by mullions against the looming one statuary interpreted as the Divine Liturgy, which Christ administers the Eucharist flanked by twelve angels cerifers and thurifers.
|
|
After a spread in Life magazine on 5 July 1954, his work was much in demand in the United States. He turned more and more to designing and supervising the building of what he called his "things"always with silly names such as The Featherstone-Kite Openwork Basketweave Mark Two Gentleman’s Flying Machine, two copies of which exist, one of which was displayed in a glass case in the Merrion Centre, Leeds, the other on permanent display at the Mid-America Science Museum in Hot Springs, Arkansas. In the mid-1960s he was commissioned by Honeywell to create a mechanical computer, which he named The Forget-Me-Not Computer. In 1968 he designed the elaborate inventions of Caractacus Potts (played by Dick Van Dyke) for the film Chitty Chitty Bang Bang.
|
|
In this process, the wax and the textile are both replaced by the metal during the casting process, whereby the fabric reinforcement allows for a thinner model, and thus reduces the amount of metal expended in the mould. In Evidence of this process is seen by the textile relief on the reverse side of objects and is sometimes referred to as "lost-wax, lost textile". This textile relief is visible on gold ornaments from burial mounds in southern Siberia of the ancient horse riding tribes, such as the distinctive group of openwork gold plaques housed in the Hermitage Museum, Saint Petersburg. The technique may have its origins in the Far East, as indicated by the few Han examples, and the bronze buckle and gold plaques found at the cemetery at Xigou.
|
|
John 21:17 Large angelic figures flank an openwork panel beneath a highly realistic bronze seat cushion, vividly empty: the relic is encased within.In late seventeenth- century Venice, Andrea Brustolon constructed a few grandiose armchairs that employ similar sculptural figures doing duty as front legs and armrest supports. The cathedra is lofted on splayed scrolling bars that appear to be effortlessly supported by four over-lifesize bronze Doctors of the Church: Western doctors Saint Ambrose and Saint Augustine of Hippo on the outsides, wearing miters, and Eastern doctors Saint John Chrysostom and Saint Athanasius on the insides, both bare-headed. The cathedra appears to hover over the altar in the basilica's apse, lit by a central tinted window through which light streams, illuminating the gilded glory of sunrays and sculpted clouds that surrounds the window.
|
|
Muscarella, 115–116; EI I The ethnicity of the people who created them remains unclear,Muscarella, 116–117; EI I though they may well have been Persian, possibly related to the modern Lur people who have given their name to the area. They probably date to between about 1000 and 650 BC.EI, I The bronzes tend to be flat and use openwork, like the related metalwork of Scythian art. They represent the art of a nomadic or transhumant people, for whom all possessions needed to be light and portable, and necessary objects such as weapons, finials (perhaps for tent-poles), horse- harness fittings, pins, cups and small fittings are highly decorated over their small surface area.Frankfort, 343-48; Muscarella, 117 is less confident that they were not settled.
|
|
Radama II, with crown The crown of the Malagasy sovereign was made in France for Ranavalona I. It is a large crown made from locally mined gold in c. 1890 and is very heavy. In its essential form it followed the pattern of crown associated with a sovereign in European heraldry and had four arches which intersected at the top of the crown, while the circlet was made of openwork and set with precious stones and from the circlet between the arches were triangular leaf-like ornaments which also were set with precious stones (pearls?). One of the two most distinctive features of the crown was a large fan-like ornament generally described as a representation of seven spearheads of the traditional Malagasy warrior's spear joined together at the base, but in photographs and paintings it looks more like seven large feathers.
|
|
Eight of them are inscribed covered with green enamel "eight auspicious signs of Buddha": to the left of the central link - a lotus flower, a precious vessel, two fish and an endless knot; to the right of the central link - the shell, the wheel of learning, the precious umbrella and the banner of victory. The central link is an openwork slotted hexagon, symbolizing a cloud, into which a round medallion of blue enamel is inscribed. The medallion depicts a dragon "in the clouds" wriggling around the flaming Sun. The cordon is gold, with a diameter of 71 mm, it is a stylized image of the main imperial symbol - an orchid flower. On the obverse, the badge looks like a round jagged medallion of green enamel, on which a star of five narrow “petals” of yellow enamel is superimposed.
|
|
Demolition of the old Red Pier Head, and the fine Georgian era lighthouse was scheduled together with the head of the Fort Anne Jetty.Isle of Man Examiner Friday, February 07, 1930; page 1 The improvements consisted of extending the Red Pier by and widened to .Isle of Man Examiner Friday, February 7, 1930; page 6 A considerable feature of the work was the construction of an openwork viaduct of reinforced concrete wide, which crossed Circus Beach to the rear of the Isle of Man Steam Packet Company warehouses and the Imperial Hotel and joined the Victoria Pier at its base. The structural alterations to the Fort Anne Breakwater consisted of the removal of the rounded end and the erection of timbered dolphins running parallel with the extended Red Pier, to fend off shipping from the shoal water from the Fort Anne beach.
|
|
The outer surface of the so-called "Bromewell bucket" was decorated with a Syrian- or Nubian-style frieze, depicting naked warriors in combat with leaping lions, and had an inscription in Greek that translated as "Use this in good health, Master Count, for many happy years." In an area near to a former rose garden, a group of moderate- sized burial mounds was identified. They had long since been levelled, but their position was shown by circular ditches that each enclosed a small deposit indicating the presence of a single burial, probably of unurned human ashes. One burial lay in an irregular oval pit that contained two vessels, a stamped black earthenware urn of late 6th-century type, and a well-preserved large bronze hanging bowl, with openwork hook escutcheons and a related circular mount at the centre.
|
|
The Alfred Jewel on display in the Ashmolean Museum, Oxford, next to the Minster Lovell Jewel The inscription round the sides The Alfred Jewel is about long and is made of filigreed gold, enclosing a highly polished tear-shaped piece of clear quartz "rock crystal", beneath which is set a cloisonné enamel plaque, with an image of a man, perhaps Christ, with ecclesiastical symbols. The figure "closely resembles the figure of Sight in the Fuller Brooch, but it is most commonly thought to represent Christ as Wisdom or Christ in Majesty", according to Wilson,Wilson, 111 although Webster considers a personification of "Sight" a likely identification, also comparing it to the Fuller Brooch.Webster 2012, 154. Around the sides of the crystal there is a rim at the top that holds the rock crystal in place, above an openwork inscription: "AELFRED MEC HEHT GEWYRCAN", meaning "Alfred ordered me made".
|
|
The cinema inside is notable in the fact that other than the removal of the seating, it is unchanged since closing with original operating manuals and film posters in place and is admired by fans of 1960s and 1970s culture. The ground floor entrance is opposite the entrance to Morrisons and has been blocked up and replaced with cash machines. One of the nightclubs within The Merrion Centre was the "Bar Phono" (originally known as Le Phonographique), widely reputed to be the birthplace of the Gothic subculture. A pillar was located in the middle of the dancefloor is said to have inspired the unique goth two steps forward two steps back dance. The centre features one of two examples of Rowland Emett's kinetic sculptures, "The Featherstone-Kite Openwork Basketweave Mark Two Gentleman’s Flying Machine", and other several other Centre-owned artworks by the artist are periodically displayed in the main thoroughfare.
|
|
Detail of the marble cladding The wall of the mihrab is covered with 28 panels of white marble, carved and pierced, which have a wide variety of plant and geometric patterns including the stylised grape leaf, the flower and the shell. Behind the openwork hint, there is an oldest niche on which several assumptions were formulated. If one refers to the story of Al-Bakri, an Andalusian historian and geographer of the eleventh century, it is the mihrab which would be done by Uqba Ibn Nafi, the founder of Kairouan, whereas Lucien Golvin shares the view that it is not an old mihrab but hardly a begun construction which may serve to support marble panels and either goes back to work of Ziadet Allah I (817–838) or to those of Abul Ibrahim around the years 862–863.Lucien Golvin, « Le mihrab de Kairouan », Kunst des Orients, vol.
|
|
View of the maqsura decorated with a frieze that includes a kufic character calligraphic inscription The maqsura, located near the minbar, consists of a fence bounding a private enclosure that allows the sovereign and his senior officials to follow the solemn prayer of Friday without mingling with the faithful. Jewel of the art of woodwork produced during the reign of the Zirid prince Al-Mu'izz ibn Badis and dated from the first half of the eleventh century, it is considered the oldest still in place in the Islamic world. It is a cedar wood fence finely sculpted and carved on three sides with various geometric motifs measuring 2.8 metres tall, eight metres long and six metres wide. Its main adornment is a frieze that crowns calligraphy, the latter surmounted by a line of pointed openwork merlons, features an inscription in flowery kufic character carved on the background of interlacing plants.
|
|
The Skye Chess piece is a single elaborate piece in carved walrus ivory, with two warriors carrying heraldic shields in a framework of openwork vegetation. It is thought to be Scottish, of the mid- thirteenth century, with aspects similar to both English and Norwegian pieces.Glenn, 146–147, 178–181; now Museum of Scotland One of the largest groups of surviving works of art are the seal matrices that appear to have entered Scottish usage with feudalism in the reign of David I, beginning at the royal court and among his Anglo-Norman vassals and then by about 1250 they began to spread to the Gaelicised areas of the country. They would be made compulsory for barons of the king in a statute of 1401Glenn, 116–144; C. J. Neville, Land, Law and People in Medieval Scotland (Edinburgh: Edinburgh University Press, 2010), , pp. 83–99.
|
|
It is punctured with three holes from which rise three lotus stalks, upon which are seated the so-called Lady Tachibana nenjibutsu (tutelary image for daily personal worship), a gilt bronze triad of Amida flanked by Kannon (on the worshipper/viewer's right) and Seishi. Behind, with two slots in the base plaque, is a tripartite hinged screen with five boddhisattvas and heavenly maidens in relief, and an openwork halo for the central image. As Kidder has observed, the size of the two flanking figures makes them "little different" from the single images produced for aristocratic families, of which there are many examples amongst the Treasures from Hōryū-ji at Tokyo National Museum, while as an ensemble this is the most ambitious overall programme in bronze to survive. Marking the pinnacle of contemporary bronze casting and carving also from technological perspective, the statues have been designated a National Treasure.
|
|
The Benin ivory mask is a miniature sculptural portrait in ivory of Idia, the first Iyoba (Queen Mother) of the 16th century Benin Empire, taking the form of a traditional African mask. Two almost identical masks are kept at the British Museum in London and at the Metropolitan Museum of Art in New York City.Metropolitan Museum Collection Queen Mother Pendant Mask: Iyoba, MetMuseum, retrieved 1 November 2014 Both feature a serene face of the Queen Mother wearing a beaded headdress, a beaded choker at her neck, scarification highlighted by iron inlay on the forehead, and all framed by the flange of an openwork tiara and collar of symbolic beings, as well as double loops at each side for attachment of the pendant. There are also examples on the same theme at the Seattle Art Museum and the Linden Museum, and one in a private collection, all taken during the British Benin Expedition of 1897.
|
|
Diglottoi) in particular the Bylliones and the Taulantian tribes close to Epidamnus"Dalmatia: research in the Roman province 1970-2001 : papers in honour of J.J by David Davison, Vincent L. Gaffney, J. J. Wilkes, Emilio Marin, 2006, page 21, "...completely Hellenised town..." due to their proximity to the Greek colonies in Illyria. Illyrians imported weapons and armor from the ancient Greeks (such as the Illyrian type helmet, originally a Greek type) and also adopted the ornamentation of ancient Macedon on their shieldsThe Illyrians: history and culture, History and Culture Series, The Illyrians: History and Culture, Aleksandar Stipčević, , 1977, page 174 and their war beltsThe Illyrians (The Peoples of Europe) by John Wilkes, 1996, page 233&236, "The Illyrians liked decorated belt-buckles or clasps (see figure 29). Some of gold and silver with openwork designs of stylised birds have a similar distribution to the Mramorac bracelets and may also have been produced under Greek influence.
|
|
Where docks are given sloping sides, openwork timber jetties are generally carried across the slope, at the ends of which vessels can lie in deep water or more solid structures are erected over the slope for supporting coal-tips. Pilework jetties are also constructed in the water outside the entrances to docks on each side, so as to form an enlarging trumpet-shaped channel between the entrance, lock or tidal basin and the approach channel, in order to guide vessels in entering or leaving the docks. Solid jetties, moreover, lined with quay walls, are sometimes carried out into a wide dock, at right angles to the line of quays at the side, to enlarge the accommodation; and they also serve, when extended on a large scale from the coast of a tideless sea under shelter of an outlying breakwater, to form the basins in which vessels lie when discharging and taking in cargoes in such a port as Marseille.
|
|
The centre of the cross was later replaced ("severely embellished" as the National Museum put it),Wallace 234 probably at the same time as the later face, by a setting for a large stone (now missing) with four lobed sections, similar to the centre of the lower face. The inscription has missing sections because of this, but can mostly be reconstructed: "It asks for a prayer for the abbot of Lorrha, Mathgamain Ua Cathail (+1037) and for Find Ua Dúngalaigh, king of Múscraige Tíre (+1033). It also mentions Donnchadh mac Briain, styled 'king of Ireland' and Mac Raith Ua Donnchada, king of the Eoganacht of Cashel (+1052) as well as the name of the maker, Donnchadh Ua Taccáin [a monk] 'of the community of Cluain (Clonmacnoise)'."Ó Floinn The four spaces between cross and border have panels of geometric openwork decoration, and there are small panels with knotwork decoration at the corners of the border and inside the curved ends of the cross members.
|
|
Lutyens' houses, here quite conventional in 1899, were to evolve still further from their Tudor roots In the early part of the century, one of the exponents who developed the style further was Edwin Lutyens (1864–1944). At The Deanery in Berkshire, 1899, (right), where the client was the editor of the influential magazine Country Life, details like the openwork brick balustrade, the many-paned oriel window and facetted staircase tower, the shadowed windows under the eaves, or the prominent clustered chimneys were conventional Tudor Revival borrowings, some of which Lutyens was to remake in his own style, that already predominates in the dark recessed entryway, the confident massing, and his signature semi-circular terrace steps. This is Tudorbethan at its best, free in ground plan, stripped of cuteness, yet warmly vernacular in effect, familiar though new, eminently liveable. The Deanery was another example of the "naturalistic" approach; an anonymous reviewer for Country Life in 1903 wrote; "So naturally has the house been planned that it seems to have grown out of the landscape rather than to have been fitted into it".
|
|
Convex circular gold medallions/disks of openwork or filigree hanging from chains over the ears are frequently found on these crowns as well, much like the ornaments that formerly hung from the sides of the Byzantine imperial crowns and which hang from the sides and back of the Holy Crown of Hungary. Some crowns also appear to have a semi-circular platform for additional ornaments attached to the lower front edge of the crown (on two of the crowns of Menelik II these platforms each support a small gold statuette of St. George fighting the dragon).Empress Zewditu I accompanied by a priestOther parts of the Ethiopian regalia include a jewelled gold sword, a gold and ivory sceptre, a large gold orb with cross, a diamond studded ring, two gold filigreed lances of traditional Ethiopian form, and long scarlet robes heavily embroidered in gold. Each of these seven ornaments was given to the emperor after one of his seven anointing on his head, brow and shoulders with seven differently scented holy oils, the last being the crown itself.
|
|