This is the underlying theme of the polychromatic collection, she tells me.
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Then you saw the wide-shot reveal the dense, polychromatic Cult of Kanye.
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Both the book and the show are polychromatic, gritty and almost deliriously ambitious.
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At first glance, the kitchen backsplash looks like a graphic, polychromatic holdover from the 1970s.
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The dragon on this gate was originally polychromatic with red jaws and glass eye sockets.
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NASA's Earth Polychromatic Imaging Camera (EPIC), a four-megapixel CCD camera and telescope, captured the images.
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The polychromatic painting of some of these buildings can be haphazard, with seemingly random color choices.
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Editorial Despite its polychromatic diversity, New York City has one of most deeply segregated school systems in the nation.
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Much like their sprawling collaborative record, the trio's 34-minute THUMP Mix is a trip through far-flung, polychromatic dimensions.
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In July last year, NASA relayed the very first image taken by its Earth Polychromatic Imaging Camera (ironically, EPIC for short).
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Biden is a septuagenarian nonsocialist in a party whose base is trending leftward and whose demographics are turning young and polychromatic.
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For most of us, this exercise, like all exercise, can seem overwhelming: Why deny oneself the pleasure of a polychromatic life?
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ALAN A polychromatic clay figure by Josefina Aguilar of a mother holding the hand of one child and carrying the other.
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NASA's Earth Polychromatic Imaging Camera (EPIC), situated aboard the DSCOVR satellite, took these unique images over a period of about four hours.
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The latest work in the show is a polychromatic, acrylic painting overlaid with neon tape from 2013, the year before he died.
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The Earth Polychromatic Imaging Camera (EPIC) aboard that satellite captured 12 images of the moon's shadow crossing North America on Aug. 21.
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I dug, and was rewarded with a mottled and polychromatic stone, streaked with color that gleamed and shifted almost impossibly in the light.
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The polychromatic dynamism of Weimar Germany runs rampant in his drawings, etchings and paintings, including rarely seen watercolors featured in Portraying a Nation.
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The way Berthot integrates such unassuming geometric forms into a miasmic, monochromatic or polychromatic picture plane lends a special charge to each work.
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This image, taken in 2015, shows Earth as seen by NASA's Earth Polychromatic Imaging Camera (EPIC), aboard NOAA's Deep Space Climate Observatory (DSCOVR) spacecraft.
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The film was even shot in black and white, an explicit rejection of the lush, polychromatic cinematography we've come to expect from Amazon movies.
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The Miami-born, Italy-based musician Yves Tumor marks his Stateside return at National Sawdust (March 25-26), with an exhibition of polychromatic soundscapes.
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He didn't know that it was categorized as girls' clothing, only that, like his beloved Rainbow Dash, it was polychromatic, glittery, winged and perfect.
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In 2012, during excavations at the site's synagogue, rich polychromatic mosaics that vividly depict various scenes from the Hebrew Bible began to come to light.
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The use of light to reapply the polychromatic pigments which would have decorated many Assyrian reliefs have been beautifully reapplied to a number of reliefs.
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This animation of the March 9 total solar eclipse was assembled from 13 images captured by NASA's Earth Polychromatic Imaging Camera (EPIC) on the DSCOVR satellite.
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Something about the polychromatic pointillism of lidar imagery has always intrigued me, but as a writer I can't say I have many opportunities to use the technology.
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This feels especially true in the artist's new work, which seems to record the hairline fractures of an unstable political world in a polychromatic flurry of exchanges.
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Susan Tunick, author of "Terra-Cotta Skyline," a history of architectural terra-cotta in New York, said that few city theaters with such vivid polychromatic decoration survive.
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The Mono Mania Mexico collection, created by Limonta for the Italian design company Moroso, also embraces the polychromatic splendor of Otomi embroidery from the south of Mexico.
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Bell's money partially funded multiple attempts at making the massive sculpture were undertaken over the two ensuing decades, eventually resulting in the towering, polychromatic pile seen at the Whitney.
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The lovely "Shimmer" table (Glas Italia, 2014) is built from different colors of laminated glass sheets, producing polychromatic refractions that call to mind the great Japanese designer Shiro Kuramata.
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A site in Israel continues to turn up stunning polychromatic mosaics from the late Roman empire that challenge current notions of ancient Jewish aesthetics and the art of depicting scripture.
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She eschews any phantasmagoric elements and veers sharply from the polychromatic palette associated with the era of her writing career, the period known as El Boom, into pitch-black darkness.
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In August 2015, the Earth Polychromatic Imaging Camera (EPIC), located a full one million miles from Earth, captured the Moon as it photobombed our very own planet with its backside.
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In past work, Roberts used bright, polychromatic color schemes and celebrity figures, like Superman and Kim Jong Un, to comment on societal shortcomings and the infiltrating presence of popular culture.
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A scorching, arid 155-mile-long lowland, it also contains the volcanic Dallol dome and its polychromatic geothermal field, which features some of the world's saltiest, most acidic bodies of superheated water.
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" And then we hear the sound of escape itself, polychromatic chords stroked by synthesizers to shimmer at the edges, with matching voices singing of a bottomless appetite: "I just can't get enough.
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The roof of the house is made of polychromatic scales that are often compared to a dragon's back, while the interior of the attic, underneath the dragon's back, resembles a dragon's rib cage.
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The Ubisoft development team behind the game even hired a historical advisor to help them recreate a meticulous version of the Ancient World, one that includes hundreds of polychromatic statues, temples, and tombs.
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And from what has been said, the burials are four- to fifth-century AD. The emergency excavation also uncovered polychromatic opus sectile mosaics formed with yellow marble, porphyry, and serpentine in various geometric patterns.
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To this end, he worked in what he felt was a quintessentially American style — hard-edge and polychromatic — and allied himself with American writers and painters from the late 19th and early 20th centuries.
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Resplendent in polychromatic durags (except Serrao, who sported a green camouflage vest), they schooled the viewing public on how to make the perfect curried leg of lamb and Coquito, a Puerto Rican coconut-based cocktail.
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In "Color the Temple," a marriage of research and projection-mapping technology, visitors to the Met can now glimpse what the Temple of Dendur may have looked like in its original, polychromatic form more than 2,000 years ago.
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Midnight Marker, his new album on Beats in Space, is a push further into that feeling—exploring hues that seem unfathomable, but somehow exist in the form of glittering synth sequences and the polychromatic glee of his vocoder runs.
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With his "Solon 6:12" (2000), Kori Newkirk takes color and makes it a sweeping curtain of beads that forms a lushly polychromatic landscape that is so deeply beautiful I wonder how he let it go from his studio.
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It underscored how Donny Hathaway had a legacy beyond his own family — as a duet partner with Roberta Flack, as a major talent whose career was cut short by mental illness, as a pioneer of polychromatic R&B music.
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Performing in front of polychromatic 16mm projections by her friend and collaborator Paul Clipson, she sat cross-legged with a guitar and array of effects pedals, her lulling score providing the perfect comedown to the hecticness out on the streets.
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Why was CW, not the movies, the place where Rachel Bloom of "Crazy Ex-Girlfriend" could write herself a role as an emphatically Jewish woman with a hunky Filipino brah as her love interest and a cast as polychromatic as California?
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With its idiosyncratic combination of Nintendo chirps, slinky house, and R&B, Colors proved he was capable of making music as polychromatic as the record's Day-Glo, kawaii cover artwork, while not being afraid of wearing his heart-on-his-sleeve.
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"There are monochrome, glossy surfaces and static straight shapes that contrast with the raw polychromatic surfaces, representing forms of growth and movement." give it away now will be on view at Galerie Reinhard Hauff in Stuttgart, Germany until January 27th.
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Advertise on Hyperallergic with Nectar Ads Ronny Quevedo's no hay medio tiempo / there is no halftime exhibition at the Queens Museum revolves around a polychromatic line drawing, rendered in vinyl tape, on the polished wood floor of the museum's atrium.
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For intellectuals of the Renaissance who pooh-poohed the idea of polychromatic sculpture because of its prevalence during the much-derided Medieval period, the use of bare marble signaled yet another achievement of the Classical era, alongside scientific and political achievements.
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The gloomy shadows of manmade violence haunt many of the most effective paintings in this exhibition, somber and sometimes wry pictures that offer up another side of Ferlinghetti's vision — ashen tones and bleak narratives marking a creative departure from his poetry's polychromatic moods.
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Syson and Wagstaff's curation deliciously borders on the profane, an unholy suite of juxtapositions that force viewers to consider if something like a Jeff Koons sculpture of Buster Keaton belongs in the same room as a 15th-century polychromatic wood sculpture from the Renaissance.
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The part of Jelloman's gimmick that doesn't break liquor laws is what he calls his "Jell-O art," in which he creates a Lite Brite-esque mural made of Dixie cups full of polychromatic gelatin that spells out a particular band's name on a cardboard slab.
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Her unflinching nude figures riff off the male-dominated 20th-century legacy of symbolic portraitists, like Egon Schiele and Ernst Ludwig Kirchner, which puts her conversation with a host of contemporary female painters currently exploring similar psychological themes through polychromatic portraiture, such as Mira Dancy, Natalie Frank, and Mickalene Thomas.
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Its galleries, courtyard and cavernous, rough-hewn hypogeum are filled with a wide-ranging collection of mostly Italian works from the end of the 19th century to the present day, including Berto Lardera's "Apparition VII," a 1962 metal work that resembles a minimalist pirate ship, and a Picasso-esque polychromatic head with four eyes that the sculptor Enrico Baj rendered in majolica.
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However, speckle patterns can be observed in polychromatic light in some conditions.
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The term polychromatic means having several colors. It is used to describe light that exhibits more than one color, which also means that it contains radiation of more than one wavelength. The study of polychromatic is particularly useful in the production of diffraction gratings.
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Lyon Observatory has worked on polychromatic artificial stars for adaptive optics systems, made by a laser.
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The original polychromatic appearance of the building has been lost in later maintenance cycles making extensive use of white paint.
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By this means varied tints were obtained which were in harmony with the polychromatic decoration which was so near their hearts.
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The reredos is a mosaic depicting the Last Supper dating from 1866 by Salviati. The pulpit is large and rectangular, made of polychromatic stone and marble with a balustrade of Corinthian columns. The lectern stands on a simple marble column. The font is square and made of polychromatic marble with a mosaic medallion in each face.
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The facing organ pipes are now polychromatic as they were when the organ was erected in the Centenary Hall in York Street.
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String of Kiffa beads Kiffa beads were made in various shapes: blue, red, and polychromatic triangles with yellow, black, white, red and blue chevron-type and decorations that resemble eyes; blue, red and polychromatic diamond-shaped beads; cigar shaped and conical beads as well as a variety of small spherical and oblate beads. Colour sequences observed on traditional beads with polychromatic decorations are always the same, i.e. red-yellow-black (dark brown)-yellow- red-white-blue-white. Often the obverse is decorated as well, and it is believed that different bead making families had their own distinct styles.
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Young Israel of Flatbush is a historic synagogue at 1012 Avenue I in Midwood, Brooklyn, New York, New York. It was built between 1925 and 1929 and is a three-story Moorish-inspired style building faced in polychromatic patterned brick. It features horseshoe arches, minarets, and polychromatic tiles. See also: It was listed on the National Register of Historic Places in 2010.
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The building is built in the Eclectic architectural style with strong Neoclassical and some Arts and Crafts influence. The facade features polychromatic "bandaged" brickworks.
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One or two small pigment granules may be seen. These forms are found in mature and polychromatic erythrocytes. Schizonts: These are usually found in a polar or sub polar position within the host cell but may be found anywhere within the cell. They are found in mature or polychromatic erthrocytes. Mature forms measure 2.3 to 5.4 micrometres in width and 1.5 to 4.4 micrometres in length.
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A prominent place among artifacts in the Oglahty complex occupy solid and decorated polychromatic fabrics. They are preserved in the Hermitage Museum of Saint Petersburg (see the pictures).
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The Milford Rural Agricultural School was a two-story, L-shaped, brick Arts and Crafts building trimmed with limestone. The arched entryway was topped with a parapet, and the exterior brickwork was accented with polychromatic brick work and square limestone medallions. The windows were multi-paned, double-hung units placed in banks of two, three or four, and separated by polychromatic brick work. On the interior, there was a large multi-story Community room in one wing, used as an auditorium and gymnasium.
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The interior rooms was liberally decorated with the best materials available in the period. The floors and pavements were covered in wood, from various species, in complex and elaborate mosaics, and the rooms decorated in gold, silver and painted plaster. There is also polychromatic stucco-works, on the ceiling and in the halls on the two floors. From the small tower there are views of the city of Angra, in all directions, across the polychromatic windows and the accessible octagonal veranda.
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The renovation of the interior in the Neo-Gothic style started in 1868, so instead of Baroque style altars were built new a Neo-Gothic altars, which included parts of a preserved original Gothic altars. The Main altar of the Holly Cross was also restored. After removing the original polychromatic paintings both the architectonical and sculptural decoration were newly coated with polychromatic paint. During the renovations several paintings as well as sculptures were painted incorrectly, therefore their historical value is no longer obvious.
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Southern Russian dress, which shows a propensity for bright, polychromatic garments, was most certainly affected by the influence of vividly coloured Ukrainian costume from the significant influx of Ukrainian settlers since the 17th century.
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Pieces excavated from Samarra exceed in vibrancy and beauty any from later periods. These predominantly being made for the Caliphs use. Tiles were also made using this same technique to create both monochromatic and polychromatic lusterware tiles.
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Among the excavated remains are four houses and a temple that already existed before the settlers' arrival - the latter has polychromatic ceramic decoration and, judging by the several weapons found in it, associated with a warrior god.
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It has an interlocking pyramidal roof clad in polychromatic slate tiles and punctuated by large dormers. See also: The building has been converted to apartments. It was added to the National Register of Historic Places in 2007.
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Among the houses built during this period of intense development were Brighton's earliest council houses. Two landowners donated land north of Elm Grove in 1897, and simple polychromatic brick cottages were built to commemorate Queen Victoria's Diamond Jubilee.
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The atrium serves as a cemetery. Inside the baptistery is noted for its polychromatic stucco work. The San Juan Temple dates to the 18th century. It has a simple facade and stone walls up to nearly a meter thick.
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The 1500 block of Ludington includes the 1914 Home Electric Building and the 1915 Clements Building, which is distinguished by its polychromatic brickwork. The north side of the street houses the 1930-31 Neo-Romanesque Escanaba Junior High School.
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Rose windows within polychromatic brickwork on side-gables, interspersed between aquiline gargoyles above buttresses Unlike the university's Tudor Revival Lanyon Building, the Lynn Building is in the High Victorian Gothic style which was prominent during the mid-nineteenth century. It features numerous examples of the form of Neo-Gothic championed by the critic John Ruskin, including polychrome (the roof tiling and brickwork), varying materials (window tracery, bases and columns of different stone types set into polychromatic brickwork), and detailing (gargoyles). Anatomically, the structure is noted for its large number of rose windows, engaged buttresses (both setback and diagonal), and side-gables.
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Its exterior is in polychromatic brick, with a slate roof and red sandstone dressings. It is an unusual building that Douglas' biographer Edward Hubbard describes as being "experimental" and as presenting "an astonishing sight". The architectural historian Nikolaus Pevsner called it "very ugly".
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The term polychromatic means having several colors. It is used to describe light that exhibits more than one color, which also means that it contains radiation of more than one wavelength. The study of polychromatics is particularly useful in the production of diffraction gratings.
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He also enjoyed using stone, he delivered a lecture on the subject at the Royal Academy of Art in 1885. He used polychromatic stonework at Manchester Assize Courts.Cunningham & Waterhouse, p. 169 His timber work is characterised by its solidity and large size of the members.
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The presbytery includes polychromatic white and gold tiles, with joints in white, and central altar decorated in gilded vegetal motifs on white retable and three images. On the epistle side, next to the altar, there is a little niche for religious items, with front corbel.
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After eight years in commercial game design, Farbs started creating independent projects as a sideline in 2006. Farbs has created several games including Polychromatic Funk Monkey, Fishie Fishie, ROM CHECK FAIL, Captain Forever and most recently, Captain Jameson. He also contributed work to Card Hunter.
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Previously convex window decorations become immersed into the wall. Cladding is characteristically polychromatic. The dome looks heavier than in previous centuries, and its tholobate typically has twelve windows, although starting from St. Saba's Church, the number increases to sixteen - eight true and eight false windows.
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Anodonthyla jeanbai is an arboreal species of frogs in the family Microhylidae. It is highly polychromatic, and has an extremely isolated phylogenetic position, showing no clear relationships to any other members of the genus Anodonthyla. It is found only in a small higher-elevation area in Madagascar.
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86 treats it as joint production initially while noting Mason's completion of it. Knight & Wales, 1988, give it to both at p.97 while crediting it exclusively to Clayton at p.99. An unusual building in polychromatic brick it reflects the innovations of William Butterfield in England.
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I, c. 21) and is published in Howard, Jacopo Sansovino…, p. 167, note 118. The rich polychromatic effect, obtained by employing a number of rare stones and costly marbles, is reminiscent of the interior of the Pantheon, of Raphael’s Chigi Chapel in Santa Maria del Popolo (begun c.
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Furthermore, the cleanliness of the vessels used and the purity of the reagents influence the silver stain.E. Hempelmann, M. Schulze, O. Götze: Free SH-groups are important for the polychromatic staining of proteins with silver nitrate. In: V. Neuhof (Editor): Electrophoresis. Verlag Chemie, Weinheim, 1984, pp. 328–330.
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Harriet F. Senie, "The Tomb of Leo XI by Alessandro Algardi", The Art Bulletin (1978); pp. 90–95. Liberality resembles Duquesnoy's famous Santa Susanna, but rendered more elegant. The tomb is somberly monotone and lacks the polychromatic excitement that detracts from the elegiac mood of Urban VIII's tomb.Boucher pp.
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Original features include iron fixtures and stained glass. Portslade Infants School was designed by E.H.L. Barker and opened on 23 July 1903. The building has distinctive polychromatic walls with bands of red, black and blue bricks, and the steep roof continues this pattern by contrasting red tiles against black slates.
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It would be even darker were it not for the "screen" back wall protruding from the Baptistry wall.Caplow, 1977, p. 121. The white and brown (and whitish-brown) marble further integrates the structure with the polychromatic white and green of the Baptistry interior.McHam, 1989, p. 149; Lightbown, 1980, p. 26.
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In 2002, the building won the American Society of Landscape Architects Merit Award. Designed by Rochester architect, AJ Warner and built by Corning contractor, Thomas Bradley, the building is Richardsonian Romanesque, a distinctly American style. Building costs were $28,579.50 in 1893. Polychromatic design with local brick & rusticated limestone quarried in Corning.
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The four-storey building is in Queen Anne Revival style that was popular in the British Empire during the late Victorian and early Edwardian periods. The brickwork on the four corner towers is "bandaged", giving a polychromatic effect. It was blue, but was later painted red to suit the architectural style.
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Wood or composite shells can be finished by laminating in plastic in a large variety of colours and effects (e. g. sparkle or polychromatic); natural wood may be stained or left natural and painted with clear lacquer. Steel is usually chromed, fibreglass self-coloured and acrylic glass tinted or clear.
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The exterior decoration is rich as well. Polychromatic red-violet cladding is typical for the period, as well as the dipped window decorations. It is rather hard to explore the eastern facade, hanging over a precipice; thus poor decoration. Southern facade has ornamentation around the entrance and the windows, particularly the central window.
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Inside, their halls are overflowing with ornaments. Trujillo's wrought-iron window railings are a unique feature of the mansions. The House of Ganoza-Chopitea (casa Ganoza) has a polychromatic front in the baroque style, crowned by a rococo frontispiece and two lions. It is the city's most representative example of casonas architecture.
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Several noteworthy artists' work comes down to us including the Darius Painter and the Underworld Painter, both active in the late 4th century, whose crowded polychromatic scenes often essay a complexity of emotion not attempted by earlier painters. Their work represents a late mannerist phase to the achievement of Greek vase painting.
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Buildings in the neighborhood include the M.A. Donohue & Co. Building at Plymouth Court and Polk Street, and the red brick and polychromatic tile Franklin Building. It features painted tile depictions of printing tradesmen such as a bookbinder and typesetter as well as a painted tile mural of the "first impression" of the Gutenberg Bible.
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There are several gargoyles, protruding eaves and porches. The interior is built around a quadrangular cloister. The main rooms are intercommunicating and have beamed ceilings with floors in ceramic tiles with Polychromatic patterns, as well as some tiled walls. Almost all rooms also have tiled stoves, some of which were brought from other buildings.
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GSW Headquarters building in Berlin. The windows are polychromatic pastel hues of orange and rose when the window shades are closed. Part of Sauerbruch Hutton's extended and renovated GSW Headquarters building in Berlin Sauerbruch Hutton is an architecture practice based in Berlin, Germany. It was founded by Matthias Sauerbruch and Louisa Hutton in 1989.
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The colour pattern is dark brown dorsally, the belly being lighter with dark spots. Over a 24-hour period the boa has a shift in colour, changing from "dark" during its relatively inactive day time period to "light" in the early evening through to dawn when it is most active. This effect is created through polychromatic skin cells.
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Armour Theatre Building is a historic theatre building located at North Kansas City, Missouri. It was designed by the architectural firm Keene & Simpson and built in 1928. It is a two-story, polychromatic brick building with Spanish Eclectic style design elements. It features a Mission tile roof, arched fenestration and decorative tiles, and glazed terra cotta detailing.
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Hasker and Marcuse Factory, originally part of the American Can Company, is a historic factory building located in Richmond, Virginia. The original section was built in 1893 and expanded through 1915. It is a four- to five-story, brick industrial building. The factory housed manufacturers of printed, polychromatic tin boxes and tin tags (labels) for plugs of chewing tobacco.
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The term nevus is applied to a number of conditions caused by neoplasias and hyperplasias of melanocytes, as well as a number of pigmentation disorders, both hypermelanotic (containing increased melanin, the pigment responsible for skin color) and hypomelanotic (containing decreased melanin). Skin lesions which are multi-colored or polychromatic may be a finding in skin cancer.
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The library interiors in the early-20th century. The library is considered to be among the finest examples of Gothic Revival architecture in the city. It was designed in the Venetian Gothic variant with a polychromatic limestone exterior. It has two storeys and a mezzanine, and the high-ceilinged reading room has stained glass portraits of the Petit family.
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The exterior is heavily decorated with polychromatic brick with details in dressed stone, including framing for all windows and doors. Across the roof edges are a large number of dormers, each with their own crow-stepped gable. Due to the pear shaped crowns on top of the towers the building is colloquially named ‘Perenburg’ (English: pearburg).
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The arcades are carried on tall octagonal piers mostly without capitals. The roof is coffered and contains carved bosses; although much restored, it still contains some 16th century timber. The chancel is floored in polychromatic marble. The stone reredos is a memorial to a child who died at the age of eight from scarlet fever in 1863.
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The Gibson County Courthouse in Trenton, Tennessee was built in 1899. It was listed on the National Register of Historic Places in 1976. It is a two-and- one-half-story building with a polychromatic effect created by use of red and yellow brick and gray stone. With The Gibson County Courthouse as it looks today.
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When this building was constructed, it was the only monumental Second Renaissance Revival building in Houston and one of the larger downtown buildings. It replaced a three-story polychromatic Moorish post office built in 1889, which had been unlike any other building in Houston at the time. Today, especially to the south, this building is surrounded by modern skyscrapers.
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The natives painted the cliff from canoes using organic materials.[1] The rock paintings are stylized polychromatic paintings using white, red and black colors. The paintings are said to have been enhanced by Lucullus Virgil McWhorter using enamel paints, a technique unacceptable to today's preservation community. The state park was acquired from the Yakima Valley Canal Company in 1950.
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In 1949, the sportier S8, with standard-sized wheels rather than the fat tyres of the S7, and BSA type front forks, was produced. The S7 design was improved and then sold as the S7 Deluxe. The original S7 was available only in black, whereas the standard colours for the S8 were "Polychromatic Grey" or black.
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The corners of the ground floor verandah are visually strengthened by construction in masonry with recessed arcading. The ground floor verandah is paved in polychromatic geometric tiles. A double-storeyed wing with an attached single-storeyed section with hipped slate roofs extends from the rear of the building. Attached to this is a single-storeyed lean-to.
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The high altar follows the design of the Italian Jesuit artist Andrea Pozzo (1642-1709). It is complemented by two altars at the corner of the chancel arch. Polychromatic marble is richly used in both the floor and elements of the high altar. An image of Our Lady of the Conception is at center of the high altar.
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The two-story, Romanesque style polychromatic brick building measures 52 feet by 60 feet and has a hipped roof. The front facade is symmetrical and features a projecting central bay forming a three- story clock tower topped with a cupola. and Accompanying four photos It was added to the National Register of Historic Places in 2004.
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Kiffa beads, diamond-shaped Diamond-shaped Kiffa beads were traditionally worn on bracelets, sewn onto strips of leather, and arranged in traditional sets composed of a specific ratio of blue to red to polychromatic specimens. Their patterns are believed to protect and to increase the fertility of their wearers and it has been proposed that some might imitate cowrie shells. Triangular-shaped and spherical beads were worn as hair ornaments and traditional assemblages could be composed of two complementary sets of three triangulars each, one blue, one red and one polychromatic, worn at temple height. Many of the small spherical or oblate-shaped beads were hair ornaments or worn in necklaces in various combinations with other glass and stone beads and were made by decorating a red, blue or white preformed glass bead "core".
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Purépecha pottery is characterized by being polychromatic, in negative decoration using principally black, red and white. The best examples of this work come from the Lake Patzcuaro area. The quality and variety of the ware suggests that there was a class of full-time potters. Artifacts include bowls, pots and more including miniature versions of these as well as whistles, flutes and figures.
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It was mostly the combination of polychromatic painted details of birds, flowers, and similar motifs, framed with silver. The more abstract designs are rare. Alfred, and later his son Manfred Veyhl, were the only ones who used a varnish to avoid silver oxidation. Alfred used more softer and rounder lines in his designs, whereas Manfred had a more angular, expressive style.
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To the south of the monastery, there is a monument to the execution. One of the most significant aspects of the complex is its murals and other decorative features. There are both monochromatic and polychromatic murals, with monochromatic dominating. The murals contain Biblical and other religious scenes which show some interesting localized modifications, starting with the use of monochrome paintings.
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Many of his works combine these skills. He uses a great variety of color palettes from nearly monochromatic to highly polychromatic. His works often have a fragile childlike quality to them and are usually on a small scale. He often used geometric forms and grid format compositions as well as letters and numbers, frequently combined with playful figures of animals and people.
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Excavations at Nishapur show both monochromatic and polychromatic artwork from the 8th and 9th centuries. One famous piece of art consists of hunting nobles with falcons and on horseback, in full regalia; the clothing identifies them as Tahirid, which was, again, a sub-dynasty of the Abbasids. Other styles are of vegetation, and fruit in nice colors on a four-foot high dedo.
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Window openings in the central colonnade and the side bays feature stacked windows with spandrels between them. Polychromatic terra- cotta panels with Art Moderne iconography, thematic to the buildings use, are set into the spandrels as well as into the parapet wall above. A large one- story wing and a modern secure garage project from the rear of the building.
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Features of the monumental staircase leading to the first floor include the upper side of the banister resembling a slithering animal or a wave. The exterior decoration is simpler and is based on Hungarian-Székely folk motives made of polychromatic ceramics. The ground floor is marked by a solid, embossed pedestal. Windows with large openings tend to be predominant in the façade.
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In addition to this business, he also dealt in real estate in Worcester and elsewhere. He was active in a number of charitable causes, notably educational causes across the country. After his death in 1918, his house was given to the Society for the Blind. The house Earle designed for Whitcomb is an asymmetrical polychromatic three story granite structure measuring by .
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A low MCHC can be interpreted as identifying decreased production of hemoglobin. MCHC can be normal even when hemoglobin production is decreased (such as in iron deficiency) due to a calculation artifact. MCHC can be elevated ("polychromatic") in hereditary spherocytosis, sickle cell disease and homozygous haemoglobin C disease, depending upon the hemocytometer. MCHC can be elevated in some megaloblastic anemias.
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Ultrafast Papanicolaou stain is an alternative for the fine needle aspiration samples, developed to achieve comparable visual clarity in significantly shorter time. The process differs in rehydration of the air- dried smear with saline, use 4% formaldehyde in 65% ethanol fixative, and use of Richard-Allan Hematoxylin-2 and Cyto-Stain, resulting in a 90-second process yielding transparent polychromatic stains.
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Metallic paint, also called metal flake or polychromatic, is a type of paint that is most common on new automobiles, but is also used for other purposes. Metallic paint can reveal the contours of bodywork more than non-metallic, or "solid" paint. Close-up, the small metal flakes included in the paint create a sparkling effect mimicking a metal surface.
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St Jude's Church is an Australian Anglican parish church in the Melbourne suburb of Carlton. It is one of the first complete polychromatic brick churches built in the country. The church was opened in 1866 as a temporary wooden building, but was rebuilt as a Gothic-polychrome building between 1866 and 1874. It was rebuilt - completed in 2019 - after a fire in 2014.
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The Kee House was built in 1898. It has a two-story balconied porch and stained glass windows. It has polychromatic walls, including red brick on the first floor level and fish scale pattern wood shingles on the second. It was originally the home of United States Marshall Kee, then William Tilghman, and later A.E. Patrick, J.W. Adams, and P.D. Erwin.
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Interior of the bar The exterior is decorated in polychromatic tiles. This includes a mosaic of a Crown on the floor of the entrance. The interior is also decorated with complex mosaics of tiles. The red granite topped bar is of an altar style, with a heated footrest underneath and is lit by gas lamps on the highly decorative carved ceilings.
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Eugene Field School is a historic school building located at Park Hills, St. Francois County, Missouri. It was built in 1907, and is a two-story, "T"-plan, Late Victorian style red brick school building with an addition completed by 1911. It has a low-pitched hipped roof and sits on a raised concrete foundation. It features arched openings and polychromatic brick detailing.
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Century Apartments, also known as the T.L. Ritchey Apartments, is a historic apartment building located at St. Joseph, Missouri. It was built in 1926, and is a three-story, "U"-shaped, Mission Revival style buff brick and terra cotta building. It features a large central courtyard, polychromatic brickwork, and quatrefoil windows. It was listed on the National Register of Historic Places in 2001.
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In addition to folios from illuminated manuscripts, de Unger collected examples of Islamic bookbinding, one of the most highly developed skills in the Islamic world. His collection includes Persian leather bindings, some polychromatic, embossed with highly ornamental designs in gold. There are also examples of bookbindings with flap, some with elaborate miniature lacquerwork painting either on leather or on a papier-mâché base.
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The map, drawn by , was published in 1620 and reprinted by Willem Blaeu in 1621; it also appears in Vermeer's Officer and Laughing Girl. The latter however, shows a polychromatic map while Woman Reading a Letter depicts a monochromatic print. That such a map really existed is proven by a monochromatic exemplar preserved in the collection of the Westfries Museum at Hoorn.
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The wavelength dependence in the grating equation shows that the grating separates an incident polychromatic beam into its constituent wavelength components, i.e., it is dispersive. Each wavelength of input beam spectrum is sent into a different direction, producing a rainbow of colors under white light illumination. This is visually similar to the operation of a prism, although the mechanism is very different.
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The city hall sits on a slight rise on the north side of Broadway, across from Kingston's high school and library. It is just west of Kingston Hospital. A semicircular driveway provides access. It is three stories tall, capped by a mansard roof shingled in polychromatic slate with a dentiled brick cornice and a front bell tower, all atop a regular ashlar limestone foundation.
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A. jeanbai is an extremely polychromatic species. In life, the dorsum is light brown. The dorsal surfaces of both the arms and legs are a light reddish-brown colour, all having some indistinct irregular-shaped darker markings. Many specimens have a somewhat regular dark 'hourglass' pattern located on the scapular region, and may also have small reddish-brown tubercles in a scattered pattern on the dorsum.
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This building features polychromatic brickwork, tuck pointing and some sandstone detailing. Brick, with a sandstone trim and terracotta tiles, all characteristic materials of the Federation period, were used throughout the complex, the level of detail depending on the function of the building. The complex has been extended to one side. New watch towers have been built however elements of the original towers remain intact.
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The hotel also draws certain elements from Victorian style of architecture, with rich polychromatic surfaces throughout its exterior. Built in 1892–93, the Château Frontenac was originally designed by architect Bruce Price. Price's plan called for a horseshoe-shaped hotel, made up of four wings of unequal length, connected at obtuse angles. Public rooms made up the majority of the first two floors of Price's designs.
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Its design is taken from a small parish church in England, as was the Episcopal custom, and the architects were Edward Tuckerman Potter and Henry Vaughan. Potter's banded arches emphasize the polychromatic exterior of brownstone and white and red sandstone. The choir was added in 1913, the baptistery in 1932. Though no longer in use, the exterior details of this Episcopal church remains largely intact.
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The roof was clad with polychromatic hexagonal slate shingles, and pierced by flat-roofed dormer windows, three on the long sides and two on the short. Lente's widow continued to live in the house until her death in 1901. Afterwards it was bought by the parish of Our Lady of Loreto, which converted it into a convent. The Franciscan Sisters ran a school there until 1977.
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The house itself is a two- story, three-bay structure of 18-inch–thick () load-bearing precast concrete blocks faced in stucco. It is topped by a steep polychromatic hipped roof shingled in a fish-scale pattern. The northern bay of the main block rises to a peaked tower above the roof. A one-story northern wing has a mansard roof pierced by gabled dormer windows.
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Morpho hecuba, the sunset morpho, is a Neotropical butterfly and the largest species in the genus Morpho. Its wingspan can reach , but is usually from . "M. hecuba is the largest known Morpho and one may also call it the most interesting, on account of its habits, its susceptibility to climatic influences and its tendency to develop polychromatic forms in both sexes."Fruhstorfer, H., 1913.
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Modern Gothic exhibition cabinet ( 1877–80) is a piece of Modern Gothic furniture now in the collection of the Metropolitan Museum of Art. Although its design was once attributed to Philadelphia architect Frank Furness and furniture maker Daniel Pabst, MMA now credits its design and manufacture to Pabst alone. At tall, it is an unusually large and polychromatic American example of the rare style.
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Auburn signal box is an "S" type post war version of the elevated power boxes. Others of this type are Clyde, Granville and Blacktown. The signal box operates by relay interlocking machines and features 90 Kellogg Keys levers. Constructed of polychromatic face brick, it is a two-storey electric power signal box with a single storey relay wing and designed in the Functionalist style.
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The building was added to the National Historic Register in 1979. Building was renovated in 1983 in conjunction with the Bay-Bedford Company. The Bedford Block's exterior is constructed of polychromatic bands of New Brunswick red granite, Tuckahoen marble, and pressed terra-cotta panels manufactured in Philadelphia, Pennsylvania. It was the first building after the Great Fire to use New Brunswick red granite as a material.
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The church, one of the few polychromatic brick churches designed by Scott, retains most of its original features. A tower, the gift of Edward Gibb, was added in 1885 and new parish rooms in the 1990s. The nave and chancel windows, designed by Charles Eamer Kempe (1837–1907), contain several examples of Kempe's signature, a tiny wheatsheaf. They were installed in 1901, replacing the original plain glass.
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Its walls have dark green marble bases below mahogany wall panels with walnut burl inlay. Ornate bronze grilles and wall sconces are original features. The ornamental plaster cornice transitions into a plaster coffered ceiling with alternating octagonal and square designs that have been painted in a polychromatic color scheme. One of the most impressive features of the site is the elaborate plaza along the Harrison Street facade.
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The two-storeyed former Post Office and Library both have Stanley Street frontages, similar gable roofs and string courses that delineate the two floors. The former City Concert Hall is a single-storeyed auditorium with a Dock Street frontage. Both the hall and corner building are polychromatic brick structures with matching arched windows. The first stage (1881) is a two-storeyed masonry building with basement.
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Photochemical immersion well reactor (750 mL) with a mercury-vapor lamp Photochemical reactions require a light source that emits wavelengths corresponding to an electronic transition in the reactant. In the early experiments (and in everyday life), sunlight was the light source, although it is polychromatic. Mercury-vapor lamps are more common in the laboratory. Low pressure mercury vapor lamps mainly emit at 254 nm.
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The central composition is in black and white, while the trim is polychromatic: yellow, green and manganese plant ornamentation. These panels include: an "Outdoor Scene", "Two female figures and a male figure in the park, with fruit basket", "Standing female figure gives an apple to a male figure", a "Backgammon game", "Music in the Garden" and "Music in the Garden, with harpsichord and violin".
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Polychromasia can be detected through the use of stains that will change the color of the red blood cells that are affected. Under certain conditions, these red blood cells are shown to have an affinity for basic stains, contrary to the usual acid stains used. Polychromatic cells usually stain dark blue or gray and are distinguishable from normal blood cells mostly by a slight change in color.
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The facade is neoclassical and has polychromatic detailing. Built of brick, it faced the junction of Great North Road and Carrington Road, leading to Mount Albert. In the central portion of the building were the dining halls, kitchen, and store-rooms, and the two adjoining wings were the male and female wards. The male dining hall was also used for theatrical and musical performances.
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The council houses of St Helen's Road at Elm Grove date from 1897; they are the oldest in the city. Brighton's earliest council houses date from the 19th century. Two landowners donated land around the present St Helen's Road in 1897, and simple polychromatic brick cottages were built to commemorate Queen Victoria's Diamond Jubilee. Much council building took place in the 1960s and 1970s, often in the form of tower blocks.
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In the VUV ring, the electrons are further ramped up to 825 MeV and electrons in the X-ray ring are ramped to 2.8 GeV. Once in the ring, VUV or X-ray, the electrons orbit and lose energy as a result of changes in their angular momentum, which cause the expulsion of photons. These photons are deemed white light, i.e. polychromatic, and are the source of synchrotron radiation.
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The manifold combination and blending of various architectural styles in the same building was completed through a natural polychromatic effect, resulting from the use of different materials. Materials used included Eleusinian thin slabs (called “titanolithos”) and Pentelic marble in the superstructure and limestone at the platform. The building's eight-arched roof was also constructed of marble, and was decorated respectively by eight female statues carved in sharp and lively motion.
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No telescope can form a perfect image. Even if a reflecting telescope could have a perfect mirror, or a refracting telescope could have a perfect lens, the effects of aperture diffraction are unavoidable. In reality, perfect mirrors and perfect lenses do not exist, so image aberrations in addition to aperture diffraction must be taken into account. Image aberrations can be broken down into two main classes, monochromatic, and polychromatic.
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Warrington has seven railway stations within its boundaries. The town has two main railway stations, Bank Quay on the London to Glasgow and Chester – Warrington – Newton-le-Willows – Manchester lines, and Central on the Liverpool – Widnes – Manchester line and the Transpennine route. Bank Quay is much altered, but Central (built 1873) is of some architectural merit, featuring polychromatic brickwork. However, both main railway stations have suffered from years of under investment.
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Some art criticsChueca Goitia, Fernando and Navascués, Pedro. assure us that this stone screen is the most beautiful part of the cathedral. It is possible that its construction was completed during the tenure of Archbishop Pedro de Luna whose polychromatic shield and coat of arms of Castile and León are displayed here. It is adorned with abundant statuary including a sculpted choir of angels that appear to be flying.
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The 1922 annex is three full stories, plus a full daylight basement, and features a flat roof with a banded, straight parapet wall across its west, north, and south elevations. Throughout the exterior, the daylight basement level is finished with smooth concrete, the first story is Hebron brick, and the upper stories are concrete and brick. Polychromatic reddish brick quoining appears at the corners of the building above the basement level.
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Building at 216 Bank Street, also known as Holland House Apartments, is a historic home located at Suffolk, Virginia. It was built about 1885, and is a 2 1/2-story, three bay stuccoed brick Second Empire style building. It has a polychromatic slate mansard roof and a full-width, one-story, hipped roof front porch. It was built for Colonel Edward Everett Holland as a single- family dwelling.
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It was erected at the corner of Taft Avenue and Ayala Boulevard. The building, three storeys in height, followed a V-configuration plan, where an auditorium was at the apex, while the rest of its segments were used as classrooms and laboratories linked by corridors. The construction, then budgeted at P374,000, was made of reinforced concrete. The exterior was relieved by panels of glazed polychromatic glazed tiles set in concrete.
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Chancel decoration of "angels and rows of lillies" The church is constructed of Old Red Sandstone with Bath Stone dressings, creating a polychromatic display. It has a nave, roofed in Welsh slate, a chancel with vestry, two porches and a bellcote. The architectural historian John Newman describes this as "an extraordinarily elaborate belfry, a sort of pulpit in the sky". The style of the whole is Early French.
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John Young (1797 – 23 March 1877) was an English architect and surveyor whose career spanned the grace of the Regency period and the pragmatism of the Industrial Revolution. While based primarily in the City of London, his practice, John Young & Son, Architects, was both eclectic and wide-ranging in South East England. He is particularly noted for his creative use of polychromatic brickwork whether in industrial, civic or residential contexts.
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Leo Villa, mechanic for Sir Malcolm and Donald Campbell's record-breaking Bluebirds, was given a Stereo Realist by Campbell in 1955. Many of his photographs with it have recently been published in book form as polychromatic anaglyphs (i.e., single composite photographs viewed through colored viewing glasses).Villa Harold Lloyd took thousands of stereo slides with his Realist and wrote the introduction to the Stereo Realist Manual published by Morgan and Lester.
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The chimney breast is conspicuous with a central, decorative diamond pattern of polychromatic bricks. A small, gabled porch with a colourful, tessellated tile floor shelters the front entrance. At the western end of the front elevation is a later timber-framed porch, clad with sheets and battens and enclosed with more recent timber-framed awning windows. The front door is timber with a high waist and a large glazed top panel.
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Their efficiency is slightly lower than that of traditional low-pressure lamps (approx. 33% UV-C output), and power density is approximately 2–3 W/cm3. Medium-pressure UV lamps operate at much higher temperatures, up to about 800 degrees Celsius, and have a polychromatic output spectrum and a high radiation output but lower UV-C efficiency of 10% or less. Typical power density is 30 W/cm3 or greater.
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Team of British archeologists were also involved in the archeological dig. Stratigraphic coring results confirmed the presence of seven cultural layers. By 1980 the site was fully explored. Neolithic Chavdar Culture, polychromatic and anthropomorphic pottery, 6200-5400 B.C., Bulgaria Early Neolithic village of Chavdar is isochronous to Karanovo I and II Neolithic sites which are dated about 6200 BC. The artifact findings are also similar to Kremikovtsi Neolithic village findings.
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Schematic of a typical EDXRD experiment Energy-dispersive X-ray diffraction (EDXRD) is an analytical technique for characterizing materials. It differs from conventional X-ray diffraction by using polychromatic photons as the source and is usually operated at a fixed angle. With no need for a goniometer, EDXRD is able to collect full diffraction patterns very quickly. EDXRD is almost exclusively used with synchrotron radiation which allows for measurement within real engineering materials.
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Kingston's City Hall uses many elements that Ruskin praised, in particular the polychromatic banding and towers. The building was purposely sited where the boundary between the two former villages had been, in order to symbolize the merger. It was built over two years and the city began using it for council meetings and daily business in 1875. The original design had a complex of hipped roofs and an open belfry atop the tower.
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The basic components of a Michelson Interferometer: a coherent light source, a detector, a beam splitter, a stationary mirror and a movable mirror. The fundamental components of a Fourier transform spectrometer include a polychromatic light source and a Michelson Interferometer with a movable mirror. When light goes into the interferometer, it is separated into two beams. 50% of the light reaches the static mirror and the other half reaches the movable mirror.
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Robertson–Cataract Electric Building, also known as The Corn Exchange and 100 South, is a historic commercial building located in downtown Buffalo in Erie County, New York. It was built in 1915–1916, and is a four-story, five bay, reinforced concrete building faced in brick in the Renaissance Revival-style. The building was expanded in 1919. It features terra cotta and polychromatic brick details in hues of red, brown, and purple.
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Altar with an altar ledge occupying the only space between it and the wall The church is accessed by a Romanesque porch in polychromatic brick, with a belfry suspended over it. There is then an atrium leading into the ante-church, nave and sanctuary. The interior is richly decorated with a baldacchino over the altar. The semi-dome above the sanctuary was inspired by the apse of the Basilica of San Clemente al Laterano, Rome.
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Westman's early work from the end of the 1930s was strongly influenced by the folkloric Swedish style as can be seen in Fløjlespilleren (1937) and Sygebesøget (1939). Over the years, his Naturalistic approach evolved into a simpler, more stylised form, often in polychromatic ceramics. His simplified crafting can be seen in works representing children such as Børn ved vinduet (Children at the Window, 1947), and Gøgeungen and Børnehaven (1948)."Gunnar Westman", Dansk Biografisk Leksikon.
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This gesture is common in Olmec rock art and is seen in the Oxtotitlan cave painting of the ithyphallic man and jaguar. Painting #2 A larger painting, of an incomplete character also found at the Cacahuaziziqui site has raised interesting questions. This painting is of a figure wearing an ornate headdress decorated with what appear to be “symbolic motifs.” It is polychromatic in that it makes use of white, yellow and some red.
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Several buildings in the Old Campus Historic District were designed by early Minnesota architect LeRoy Buffington. One of the most notable is Pillsbury Hall, designed by Buffington and Harvey Ellis in the Richardsonian Romanesque style. Pillsbury Hall's polychromatic facade incorporates several sandstone varieties that were available in Minnesota during the time of construction. Buffington also designed the exterior of Burton Hall, considered one of the strongest specimens of Greek Revival architecture in Minnesota.
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Many constructions in the complex have richly decorated polychromatic tiles. In many courtyards above burial places, marble gravestones with epigraphic inscriptions, and vegetative and geometrical ornaments, are installed. The structure of the complex includes 25 constructions - khonaqo, mosque, ayvan with khudjras, darvazahana, minaret, and 20 small objects - courtyards - burial places with the dome coverings, and separately standing portals. The territory occupies both a memorial and an ancient cemetery equal to 3 hectares.
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A view of the beach at Foz do Arelho Quinta de Nossa Senhora de Guadalupe is an ancient manor house and farm, dated back to the 16th century. It includes a chapel, built in 1580 which can be seen, engraved in stone over the main entrance door, the chapel also has a stone bearing the "Medeiros" arms. Inside there is a polychromatic wood sculpture, dated back to the 16th century, representing N. Sra. do Carmo.
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Along the southern facade of the chapel is the garden, organized in formal beds boxwood and lower terraces, distinguished by arched pergolas surrounded by pear trees. The interior of the chapel consists of stucco-painted marbling, choir with connecting doors to the sacristy and the inner courtyard, wooden pulpit resting on corbel. The rounded, carved triumphal arch valance separates the chancel (also separated by wood grade) from the altar consisting of polychromatic carvings.
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Rounding the facade is a robust frame with similar fenestrations, while the lateral facades maintain a relation between span symmetry, content and decoration. The vestibule is covered in azulejo tile, framed by pilasters. Near the ceiling is a blue and gold frieze decorated with stylized flowers, while below them is another polychromatic frieze depicting the history of transportation in Portugal. Below the friezes are large azulejo "paintings" representing historical events in Portuguese history.
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On the border wall at the entrance are small panels depicting countryside scenes. The tile project required 11 years to complete. The upper parts of the frieze are lined with polychromatic (multicolored) azulejos depicting a chronology of some forms of transport used by people in various areas of Portugal. The lower and upper frame of the frieze consists of a line of tile in blue, browns and yellow in a stylized geometric pattern.
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Still in his tens he started a printing office in Westerly, Rhode Island. Here he founded the Literary Echo journal, which was later renamed The Narragansett and was continued until the end of 19th century. Through his interest in photography he started a printing-press manufacture, for which he invented a polychromatic press for printing in several colors."George H. Babcock; in Memoriam," in Transactions of the American Society of Mechanical Engineers. v.
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It contains a remarkable choir screen in polychromatic marble carved by the Cambrai native Gaspard Marsy as well as La mise au tombeauu by Peter Paul Rubens dating from 1616. The grand organs built in 1867 by Merklin were the subject of a significant transformation in 1978. The current instrument has 41 stops. This church has been the subject of a restoration of the frontage and roofing over a period of four years (2011–2015).
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The pillars of height are square in shape with engaged columns and cruciform joining a series of pillars. Geometrically shaped polychromatic zellji with carved plaster are noted with floral and geometric designs with epigraphy. Carved or painted marble or shaped wood are used for these elegant designs, which highlight Islamic art forms. The roof is retractable, illuminating the hall with daytime sunlight and allowing worshippers to pray under the stars on clear nights.
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Looking towards the altar The interior St Sophia is a Byzantine Revival design by architect John Oldrid Scott. Scott was responsible for many significant British churches, and was subsequently commissioned by Ralli to build St Stephen's Greek Orthodox Chapel in West Norwood Cemetery in 1873. From the outside the Cathedral appears relatively modest, only hinting at its style through the domed roof and arched windows. Inside it is elaborately decorated with polychromatic marble.
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Originally, the house had a high chiselled roof made of shingles ending only with eaves. However, during the restoration, the designers gave the house a slate, which was not used in Gothic Prague because of its unavailability. They finished off the roof with a reinforced concrete machicolation. Inside, restorers were able to find and restore polychromatic wooden ceilings on both floors as well as painted chapels on the ground floor and first floor.
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A diffraction grating or a dispersive prism may be used to selectively redirect selected wavelengths of light within an optical system. In the case of transmission gratings and prisms, polychromatic light that passes through the object will be redirected according to wavelength. A slit may then be used to select wavelengths that are desired. A reflective grating may also be utilized for the same purpose, though in this case light is reflected rather than transmitted.
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The roof is recessed behind this. The north-facing side of this building faces Market Street and is partly blocked from view by the bridge built in 1989 to connect the North Street and East Street sections of the store. It is similar to the main (east-facing) elevation but also has a shallow three-bay pediment. The walls are of painted brick (possibly polychromatic originally) laid in the Flemish bond pattern.
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There is potential for recovering evidence of earlier buildings or structures, such as the previous building on the site used as a hotel. While the original interior fabric has been substantially altered, Kempsey Post Office retains the features which make it culturally significant, including the prominent tower with classical motifs, the pyramidal tower roof, the arcaded loggia, the stucco wall finish and polychromatic brickwork, along with its overall style, scale and location.
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The exposed rafters are rounded on the ends, and this attention to detail is typical of the quality of carpentry throughout. The internal pilasters, which correspond with the buttresses, hold the overhead crane rail. The overhead crane is a simple undertrussed steel- girder hand-operated crane typical of the early twentieth century. The chimney stack is polychromatic brickwork on a square base which changes to an octoganal shaft some three metres above the ground.
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On either side are corbels and false niches gilded and painted. On the left wall is a doorway to the sacristy. The church is constructed of stone masonry and mortar primarily, plastered and whitewashed, with the portal and secondary elements in stone. In addition, the elements of the church include tile covering of straw, wood-lined ceilings with dome plastered and whitewashed, tiled floors, wooden window frames, gilded altarpiece and polychromatic tiles.
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The technology works by probing an optical standing wave, or the sum of the standing waves in the case of polychromatic light, created by a light to be analyzed. In a SWIFTS linear configuration (true Lippman configuration), the stationary wave is created by a single-mode waveguide ended by a fixed mirror. The stationary wave is regularly sampled on one side of a waveguide using nano-scattering dots. These dots are located in the evanescent field.
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The site is in an urban area, on an elevated hilltop alongside a survey marker, João Cidreira, next to a number of houses. The domus, consisted of a two-storey building, with a few spaces paved in polychromatic mosaics, along with a their respective thermae complex.In addition to the three tanks, some medieval silos and receptacles from the same period were discovered. It is likely that the villa was reused over the several centuries of occupation for other purposes.
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This badge engineering was one of the last uses of the Sunbeam marque. The differences between the BSA Sunbeam and Triumph Tigress were entirely cosmetic - the former in polychromatic green paint, also two-tone red and cream, with a BSA badge; the latter in a shell blue or mimosa and ivory (two tone) with Triumph badging. The scooter was available with a 250 cc four-stroke twin (10 hp) or 175 cc two-stroke single-cylinder engine (7,5 hp).
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The Wonderful Visit tells how an angel spends a little more than a week in southern England. He is at first mistaken for a bird because of his dazzling polychromatic plumage, for he is "neither the Angel of religious feeling nor the Angel of popular belief," but rather "the Angel of Italian art."H.G. Wells, The Wonderful Visit, ch. 9. As a result, he is hunted and shot in the wing by an amateur ornithologist, the Rev.
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The endemic fishes of Matano have been compared to the species swarms of the Rift Valley Lakes of Africa. While not as diverse, they are thought to have all arisen from a single ancestor species and diversified into numerous different species, which now fill many of the previously vacant ecological niches, as can be seen in the family Telmatherinidae.Herder, F., J. Pfaender, and U.K. Schliewen (2008). Adaptive sympatric speciation of polychromatic "roundfin" sailfin silverside fish in Lake Matano (Sulawesi).
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The courthouse interior features the judge's bench and some displays The courthouse complex is located on a narrow parcel of less than that extends from the street to the shore of Lake George itself. All sections are linked. They are built of masonry load-bearing walls faced in brick, on a limestone foundation with polychromatic slate roof pierced by six chimneys. The three remaining sections are, from west to east, the judges' chambers, original courthouse, and jail wing.
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With rice paper hard to come by, Joan used oil pigments lightly tamped on stretched dyed cloth. The combination of coloured fabrics and inks produced a polychromatic blueprint of the carved relief with crisp, well-defined lines outlining both figures and hieroglyphic passages. Although Patten made rubbings from the original surface of every monument she made a replica of, a majority of duplicate rubbings were fashioned directly from the replicas. Rubbings from the second generation casts had several advantages.
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For example, in Frank Gehry's Venice Beach House, the neighboring houses have a similar bright flat color. This vernacular sensitivity is often evident, but other times the designs respond to more high-style neighbors. James Stirling's Arthur M. Sackler Museum at Harvard University features a rounded corner and striped brick patterning that relate to the form and decoration of the polychromatic Victorian Memorial Hall across the street, although in neither case is the element imitative or historicist.
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Praising the band's "distinctive voice", Popmatters' Craig Hayes observed that Vermis extended the band's "continually refined" creative trajectory by "bringing more artful sculpturing to its downtuned dissonance and complex time signatures, and setting that against a backdrop of often droning and industrial textures. The band’s work has evolved to become steadily more nerve-shredding and formidable, with the usual riff-based shreds of death metal mutilated into a seething and polychromatic canvas of avant-garde atmospherics".
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In the same detail is the pilgrimage of São Trocato to Guimarães over andor and carriage. One of the lower panels show a picture of a cattle fair and pilgrim camp. The central panels of the wall represent four work scenes: the vineyards, the harvest, the wine shipment down the Douro and work in the watermill. On the pilasters separating the doors with access to the street, below the polychromatic frieze, is a series of smaller compositions.
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The triple arched main entrance Albemarle Baptist Church Cottage The building is a classic small church of the Gothic Revival style. Constructed of dressed stone and white brick with ashlar dressings, the street front has a triple arched entrance, with circular piers and responds with foliate capitals, and polychromatic arches. The three sets of double doors have stained glass, and single shallow buttresses flank the entranceway. To its left is a single lancet window, and to its right, three.
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Also in 1970, a memorial garden was laid out in the roofless nave and aisles. In 1973 the building was listed for its architectural merits, especially its polychromatic Victorian brick, as well as being part of an historic military ensemble and for demonstrating the impact of an aerial assault, reflected in its ruinous state. In 2011 ownership of the site was transferred from Defence Infrastructure Organisation to Heritage of London Trust Operations.Heritage of London Trust Operations on stgeorgeswoolwich.org.
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The hallmarks of his movies, all of which are technically authored with polychromatic, predominantly biomorph shapes in recurring and subdued patterns, constituted a unique and recognizable style. Thematically the movies express universal combined mythical themes (birth, fall of man, apocalypse, phoenix), through broad ranges of visual allegories and metaphors. In some of authors works, documentary sequences were embedded, in line with symbolic augmentation of script's leitmotiv, rather than for reasons of visual appeal or exploration of technical limits.
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Henry Walter House is a historic home located at West Cocalico Township, Lancaster County, Pennsylvania. It was built between about 1750 and 1768, and is a two-story, rectangular banked sandstone dwelling in a Germanic style. It has a gable roof and features precise cut stone masonry, with a polychromatic effect from differing shades of brown and red sandstone. Also on the property is a contributing stone and frame bank barn, with portions that may pre-date 1815.
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In the sacristy, to the left of the door connecting it to the nave is a steep staircase to the pulpit protected by wooden balustrade, with a small storage area below it. In the main altar there a doorway to storage and windows on either wall, while the space is dominated by a gilded and polychromatic retable in an eclectic Revivalist style. The ceiling of the nave is covered in wood formed to imitate a vaulted ceiling over cornices.
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The nave The church is in North Italian Romanesque style, and constructed in common brick with polychromatic decoration in red and blue brick and stone, inside and outside the building. There is a tall northwest tower, almost detached, which originally had a pyramidal roof. All the windows are round-headed, other than a large round window in the west end. Inside the church, the arcades have round arches and are carried on granite piers with Byzantine capitals.
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It is a 2-1/2 story brick house, with a complex roofline typical of the Queen Anne period. The walls are made of polychromatic (principally red and black) brick, with some sandstone trim elements. Gable ends are decorated with vergeboard, and window lintels are sandstone carved with floral motifs on the first floor, and with sawtooth motif on the second. Eastlake-style posts demarcate windows in the gables, and support the small entry porch on the west side.
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From here are accessways to Rua Infante D. Henrique across a ramp and tunnel, that opens to an archway surmounted by royal coat-of-arms. Alongside the door exists a stone with the shield of the Avis dynastic family. Archaeological excavations since 1995 identified a group of structures buried in the entirety of the property, allowing the reconstruction of the medieval organization of the customhouses and "House of Coin", with vestiges of an early Roman construction of grand dimensions, with polychromatic mosaics.
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Many advanced techniques are used to provide an estimate of the temporal probability density function (pdf) of a pixel x. ViBe's approach is different, as it imposes the influence of a value in the polychromatic space to be limited to the local neighborhood. In practice, ViBe does not estimate the pdf, but uses a set of previously observed sample values as a pixel model. To classify a value pt(x), it is compared to its closest values among the set of samples.
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This technique is used principally to make pots and comals . "Pineapple" pottery piece from San José de Gracia Polychromatic pottery is made either by using different colored clay or through the use of paint. The most common object make with various colors are figures from the Bible and daily life and Christmas ornaments, especially in Ocumicho. One other unique figure from this town is a playful Devil, appearing in scenes such as the Last Supper or coming between two lovers.
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The Rae Flats and The Raleigh, also known as The Phoenix; The Hotel Raleigh; The Tudor Arms; The Phoenix Apartments, are two historic apartment buildings located in the Allentown neighborhood of Buffalo, Erie County, New York. The Rae was built about 1892, and is a three-story, polychromatic brick building over a raised basement with Norman inspired detailing. The Rae houses a total of seven apartments. The Raleigh was built about 1896 as a Jewish clubhouse and converted to apartments in 1901.
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On top is the great Rose Window of polychromatic stained glass. The interior of the portal corresponds to the great façade of the transept on its southern side, on top of which rests the small balcony with balustrade that corresponds to the tribune where the organ of the Emperor is located. Higher up is the rose window, surrounded by a frame with its pendentives decorated with rosettes. In the lower part of the great façade is the portal divided by a column-mullion.
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A long, slightly inclined limestone causeway connected the valley temple to the mortuary temple. The causeway was roofed, with narrow slits left in the ceiling slabs allowing light to enter illuminating its polychromatic bas- relief covered walls. These included scenes with seemingly apotropaic functions, such as a scene of the king represented as a sphinx crushing Egypt's enemies under his paw. Other scenes presented include offering bearers, animal slaughter, and the transport of the gilded pyramidion to the construction site.
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The four-storey tower has a corbelled saddle, corner buttresses, and triple arcades to the lower storey. The interior has polychrome brick patterns and bath stone dressings on red bricks. The stilted low-pitch chancel roof has stellar-pattern ribs and crenellated wall plates; the nave roof is steeper with wall posts to the main trusses. John Newman described the new church as "one of Butterfield's finest churches, big boned and austere outside, highly charged in the polychromatic patterning of its interior".
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The polychromatic exterior combines several materials, principally red brick. St Philip's Church is considered a good example of Oldrid Scott's architectural techniques. Architecturally it is broadly Gothic Revival in the Decorated style, and is distinguished by its impressive use of building materials of various colours and types. Knapped flintwork, limestone, Bath Stone and red brickwork are combined in complex patterns all over the exterior; the extension of 1909–1910 was consistent with this, and is indistinguishable from the older section.
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The front (eastern) elevation has a single gable roof and a small verandah. Bostock House (1885) is located to the north of Anderson House and is also orientated to face Ellerton Drive, although it is set back within extensive lawns. It is a substantial two-storeyed building of polychromatic brickwork, with a projecting bay topped by a gabled roof on the north elevation, with ground floor verandahs located to either side. A circular window is located in the gable end.
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The diagnosis is confirmed by bone marrow smears that show "giant inclusion bodies" in the cells that develop into white blood cells (leukocyte precursor cells). CHS can be diagnosed prenatally by examining a sample of hair from a fetal scalp biopsy or testing leukocytes from a fetal blood sample. Under light microscopy the hairs present evenly distributed, regular melanin granules, larger than those found in normal hairs. Under polarized light microscopy these hairs exhibit a bright and polychromatic refringence pattern.
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These columns flank paintings and two niches. One of these niches contains a well carved depiction of Calvary set against a polychromatic background. The altarpiece of the Virgin of the Fountain was done by Felipe de Ureña, who was instrumental in the application of the Baroque style to Mexican churches, especially those along the silver routes north of Mexico City. He was commissioned to create this work in 1738 soon after the church had been expanded and remodeled by Miguel Custodio Duràn.
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Fiske Portal (1922-23), St. Mark's Episcopal Church. Medary designed the Fiske Portal (1922–23), a new doorway for St. Mark's Episcopal Church at 1607-27 Locust Street, Philadelphia.St. Mark Church - Project Chronology, from Philadelphia Architects and Buildings. Executing Medary's designs, Maene created the doors and carved the polychromatic "Christ in Majesty" tableau above them; Yellin fashioned their highly ornate iron hinges and hardware; and Nicola D'Ascenzo installed stained glass between the figures of the tableau, turning the tympanum into a transom.
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Works to build this house started in 1550 for Gaspard Molinier, a powerful man and long time member of the parliament. The entrance comprises a monumental gate surmounted with numerous sculptures, including monstruous beings and marble inlays. This ensemble corresponds to the then-new style known today as mannerism, whose principal traits are an abundance of sculpted figures, the depiction of a fantastic bestiary, and a marked taste for relief and polychromatic interplays.Explanatory comments of Toulouse Renaissance exhibition (2018), Colin Debuiche.
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Opposite the epistle is a square pulpit, accessible by stonework and guarded in wood balustrade under cornice, from the anti-sacristy. The triumphal archway of the altar area is constructed over pilasters flanked by two collateral retables, placed on angles and decorated in polychromatic and gilded woodwork. From the presbytery, on either side, are doors that link the sacristy and annexes. On a cartouche over the window of the presbytery, opposite the epistle, is a plaque with the inscription 1901.
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The sanctuary (prayer hall) of the mosque. The mihrab, covered in black and white marble compositions, and the wooden minbar (right). The sanctuary of the mosque was one of the most richly decorated of its time; wall decoration was limited to the prayer hall, which was decorated with polychromatic marble high enough to include window and mihrab recesses. The marble columns are pre- Islamic and have diverse sizes and shapes, since they were drawn from structures across Cairo and the surrounding territories.
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The interior is decorated in polychromatic blue and white azulejo tile, with the ceiling covered in wood, divided into panels and reinforced with metal beams, further divided by friezes, cornices and equally-spaced corbels. The pavement consists of slabs of granite, with wood pedestals in lateral areas. The main door is protected by wind-guard and flanked by two stone holy water fonts. Constructed in wood, the high choir is protected by balustrade and accessed by staircase on the left-hand side of the entrance.
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Charles T. Parry House, from HABS. The paneled vestibule, mirrors and other interior woodwork were salvaged and donated to the Philadelphia Museum of Art. Joseph M. Wilson (of Wilson Brothers) was hired by Col. Joseph D. Potts to remodel a circa-1850 suburban house at 3905 Spruce Street, Philadelphia. And remodel it Wilson did, designing numerous additions – including a 4-story tower – and unifying the exterior with polychromatic diamond-patterned brickwork. The Potts House (altered 1875–76)Potts Residence, from Philadelphia Architects and Buildings.
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Schematic diagram of a Michelson interferometer, configured for FTIR In a Michelson interferometer adapted for FTIR, light from the polychromatic infrared source, approximately a black-body radiator, is collimated and directed to a beam splitter. Ideally 50% of the light is refracted towards the fixed mirror and 50% is transmitted towards the moving mirror. Light is reflected from the two mirrors back to the beam splitter and some fraction of the original light passes into the sample compartment. There, the light is focused on the sample.
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Near the retables are doors to the lateral corridors. Over the cornice is the roof-line of the nave supported by rounded wooden beams, painted with phytomorphic friezes and cartouches, the centre large and cut, with marine symbols and inscriptions. The presbytery and altarpiece have polychromatic red and gold tile, in a rectangular alignment defined by six columns, decorated with birds and small fish over high plinths decorated with acanthus and shells. Corinthian capitals extend toward the attic in archivolts, united by radii with a pelican cartouche.
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A ring-constructed turning Segmented turning, also known as polychromatic turning, is a form of woodturning on a lathe where the initial workpiece is composed of multiple parts glued together. The process involves gluing several pieces of wood to create patterns and visual effects in turned projects. In traditional wood turning, the template is a single piece of wood. The size, grain orientation and colors of the wood, will frame how it can be turned into the target object, such as a bowl, platter, or vase.
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A rill fountain in the Al-Azhar Park, Cairo, Egypt Al-Azhar Park, Cairo: The Al-Azhar park was opened in 2005 at the Darassa Hill. According to D. Fairchild Ruggles, it is "a magnificent site that evokes historic Islamic gardens in its powerful geometries, sunken garden beds, Mamluk-style polychromatic stonework, axial water channels, and playing fountains, all interpreted in a subdued modern design." As a modern park, it was built as part of a larger urban scheme, designed to serve its nearby communities.Ruggles, D. Fairchild.
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The church was designed by Hadfield & Goldie of Sheffield. It is constructed of red brick with a slate roof, and is "a well-detailed example of the use of structural polychromatic brickwork, popular in the 1860s". The East window was designed by John Hardman Powell of Hardman & Co. The church is a Grade II listed building,"Roman Catholic Church of St Mary and St Romuald", British Listed Buildings as it "represents a relatively early and little altered church" by the Catholic architect George Goldie.Minting, Stuart.
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Early Navigators came with two-tone paintwork in grey and black for the "De Luxe" and grey and blue for the "Standard" model. From October 1962, the Standard's colour options were changed to black and polychromatic blue, with black seats with white piping. When Norton production moved to Plumstead in 1963, production of the De Luxe ended, but the Standard model continued with wider front forks and a steering lock, until Navigator production ended in 1965 with the collapse of Norton's parent group, Associated Motor Cycles.
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Graffiti of various eras The polychromatic wall monument to Ralph (1732) and Elizabeth Lane (1754) The church has a great deal of graffiti from various eras. On the first pier of the North arcade in a small 15th-century hand is scratched 'hic est sedes Margarete Tayl . . d' (possibly done by Margaret, wife of Walter Taylard who rebuilt the adjoining North chapel). On the third pier of the North arcade can be found a possibly medieval drawing of three small houses perhaps along a street.
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On the roof, in the middle of a complex Baroque scene is a painting by Pedro Alexandrino representing the Assumption of Mary, encircled by a crown of cherubs and four doctors of the church: Saint Augustine, Saint Ambrose, Saint Gregory Magno and Saint Jerome, while the painter also complete a painting of the Transfiguration on the roof of the chapel. The sacristy, with access on the left-side of the main altar, is covered in polychromatic azulejos, with a credence table made from Brazilwood.
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Below that is the conquest of Ceuta (1415), with the principal figure of Infante D. Henrique, who subjugated the Moors. Blue azuelo tile mural and polychromatic tile mural The wall into the station is divided into multiple compositions. To the left, a vision of the procession of Nossa Senhora dos Remédios in Lamego, an exhaustive description and detail showing the multitudes within an urban setting. Under this composition are two panels that represent her "promise" on her knees and, the other, her actions at the "miraculous" fountain.
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Darker, red, polychromatic brick adorns the chimney's raised side panels. Two chimneys, similar to the chimney at the north slope, pierce the east slope of the 1910 building's roof. A Mission-style curvilinear parapet rises across the entry bay at attic level on the west (front) elevation, a hipped-roof dormer protrudes from the center of the north slope, and another hipped roof covers the central, protruding bay of the east elevation. The south elevation of the original building was modified when the 1922 annex was constructed.
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The mid grating forms Fourier images of the first grating. These images beat with the 3rd grating to produce broad moiré fringes on the detector at the appropriate distance. Phase shifts and de-coherence of the wavefront by the object cause fringe shifts and attenuation of the fringe contrast. The grating fabrication challenge was eased by the discovery of a phase moiré effect which provides an all-phase- grating interferometer that works with compact sources, called the polychromatic far-field interferometer (see figure on the right).
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However, it also has Victorian Gothic touches, including its front entry porch and polychromatic slate roof. The church was built in 1869 by the Hamilton Woolen Company for a nominally non-denominational congregation of its senior employees and owners. The congregation was in practice Congregationalist, and was sometimes referred to derisively as the "Church of the Holy Supervisors". In 1921, with its enrollment declining, the company sold the building to the Holy Trinity Episcopalian congregation, which had been accumulating a building fund since 1909.
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It was declared a monument historique in 1840.Ministère de la Culture, base Mérimée, « Notice no PA00103340 » The Romanesque cloister which once adjoined the cathedral was demolished in 1857. Many of the materials, such as the capitals and the columns, were shortly afterwards reused for the construction of the lady chapel, which is now used as the entrance. In the severe interior the 17th century high altar of polychromatic marble stands out all the more, as do the organs in the Baroque architectural style.
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KLF2 was first discovered, and is highly expressed in, the adult mouse lung, but it is also expressed temporally during embryogenesis in erythroid cells, endothelium, lymphoid cells, the spleen, and white adipose tissue. It is expressed as early as embryonic day 9.5 in the endothelium. KLF2 has a particularly interesting expression profile in erythroid cells. It is minimally expressed in the primitive and fetal definitive erythroid cells, but is highly expressed in adult definitive erythroid cells, particularly in the proerythroblast and the polychromatic and orthochromatic normoblasts.
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The ornate historical Chinese style of the theatre distinguishes itself from the Neo-Renaissance exterior of the Skinner Building. Only at the street entry under the marquee does the viewer get a preview of the interior design. Here, adorning the ceiling are plaster representations of wood brackets, beams, and carved reliefs painted in a polychromatic scheme and decorated with stenciled dragons and flower patterns. Carved cloud shapes screen light fixtures to create an indirect lighting effect as the viewer approaches the wooden, brass knobbed entry doors.
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A central projecting section on the northern side of the building contained a recessed entrance supported by columns with lotus flower capitals. A vulture and sundisk symbol was located in the entablature directly above the columns, and the front entrance was flanked by sphinxes covered in polychromatic terracotta and two obelisks. Following destruction by fire on March 20, 1985, Attached is the original National Register of Historic Places nomination form for Scottish Rite Cathedral (#79003404), including one image (January 1979). the building was delisted from the National Register in 1987.
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From 1890 on, the portrait became the basic genre in Serov's art. It was in this field that his early style would become apparent, the paintings notable for the psychologically pointed characteristics of his subjects. Serov's favorite models were actors, artists, and writers (Konstantin Korovin, 1891, Isaac Levitan, 1893, Nikolai Leskov, 1894, Nikolai Rimsky-Korsakov, 1898, - all in the Tretyakov gallery). Serov painting Felix Yusupov, 1903 Initially abstaining from the polychromatic, brightly colored painting style of the 1880s, Serov often preferred a dominant scale of black-grey or brown tones.
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The mosaics in the arches over the entrance Designed by architect Wilfred Clarence Mangan, known for his Byzantine-influenced church buildings, the church is constructed with a polychromatic brick frontage four storeys high and in two sections. The earliest section on the left has a gabled centre with slim lancet windows above a porch with three arches. On either side of the central section are single bays with plain rectangular windows beneath a steep pitched roof with large dormers. The section on the right consists of a large presbytery over four storeys.
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Cryomyces minteri is a fungus of uncertain placement in the class Dothideomycetes, division Ascomycota. The rock-inhabiting fungus that was discovered in the McMurdo Dry Valleys located in Antarctica, on fragments of rock colonized by a local cryptoendolithic community. In 2008, Cryomyces minteri and Cryomyces antarcticus were simultaneously tested in low earth orbit conditions on the EXPOSE-E facility on the EuTEF (European Technology Exposure Facility) platform outside the International Space Station for 18 months. It was also tested in a space vacuum along with polychromatic UV radiation to simulate a Martian environment.
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Access to the actual site is made from the east, but during its occupation it is likely to have occurred from the south or north. The three hectare site is dominated by a baths complex, administration and secondary support building. The 2006 excavations discovered a large polychromatic figurative mosaic, that represents the god Bacchus travelling around the world, flanked by pather and bacchanal, housed in the building. These types of figures reflect themes that were common mostly in urbanized Roman settlements, but not in interior parts of Portugal.
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It also had a secondary aesthetic effect of creating a polychromatic appearance. From an engineering point of view, the tiles were introduced to level up the bed when building with irregularly shaped building materials such as flint. The setting out engineer would have introduced timber profiles for the masons to check the levels using a traveller. In the 1530s, the English antiquary John Leland successfully identified Roman bricks (albeit under the misleading designation of "Briton brykes") at several geographically dispersed sites, distinguishing them by size and shape from their medieval and modern counterparts.
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The Walter H. French Junior High School is a three-story, steel-frame brick building constructed in a Tudor style with a flat roof and large window bays. The exterior features elaborate stone door surrounds and intricate polychromatic brickwork in red, yellow, and brown shades. Another wing projects to the rear; this wing was enlarged with additions in 1957 and in the 1970s. A limestone base rises to the sill level of the first floor windows, and there is a stone belt course between the first and second stories.
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Eventually the hall and grounds fell into a state of disrepair. Wilson’s house was extended and altered as a Victorian mansion of ashlar, decorated with polychromatic bands and elaborate bargeboards, by Poundley and Walker of Liverpool in 1867–69 for the Philips family. The house was doubled in size in 1869, and they added the snooker room in 1894. In 1837 Francis Philips (1771–1850) J.P., D.L., of Bank Hall, Heaton Norris, Lancashire, purchased the Abbeycwmhir Estate, which had fallen into a state of disrepair, and did much to improve it.
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In 1989, the cemetery celebrated its 150 years of service. The chapel's interior was restored in 1998, that involved treatment, conservation and restoration of supports and stucco ornamental structures; the mural painting in the chancel and nave; the repairs to cornerstones; the gilding of woods and decorative polychromatic stuccoes; repair to stone pavement and of cast-iron elements and artistic joinery. This also included the consolidation of traditional mortars and paint. Additional repairs were undertaken in 2018, that included works of conservation and restoration in exterior and interior.
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This may cause damage to the needle and record artwork. Split Enz's laser-etched True Colours album The 1980 A&M; Records LP of Split Enz's album True Colours was remarkable not only for its multiple cover releases (in different color patterns), but for the laser-etching process used on the vinyl. The logo from the album cover, as well as other shapes, were etched into the vinyl in a manner that, if hit by a light, would reflect in polychromatic colors. This laser etching does not affect the playing grooves.
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Then an even narrower, recess in the first's rear wall – the second stagger. The room was originally adorned with polychromatic relief, and contained a scene depicting the king, as a sphinx or griffin, trampling captive Asiatic and Libyan enemies led to him by the gods. The room connects to two more rooms: a room with a staircase up to the roof terrace at the south end, and causeway at its rearmost recess. A relief depiction of troops from Sahure's valley temple can be contrasted with similar imagery in Userkaf's complex.
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Side view of the church looking northeastwards, showing the tower and polychromatic brickwork Harry Stuart Goodhart-Rendel was an "eclectic, imaginative and inventive" architect whose designs were rational rather than whimsical, but still had decorative touches and variety. Brick was his favoured building material, and the Friary Church is "instantly recognisable" as one of his designs. Ian Nairn and Nikolaus Pevsner described it as "a composition of oddly assembled parts". The cruciform structure is a large but low-set building of dark greyish brick with some intricately detailed red-brick courses.
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Since it was customary to use freshly cut wood in carvings, once the piece was finalized the surface was charred to prevent cracking during drying. This also allowed for polychromatic artworks, which were achieved using knife cuts and applications of natural pigments made with vegetable oil or palm oil. This type of grease, which was made near smoke from residences, allowed the wooden sculptures to acquire a patina that resembles rusty metal. The figures depicted in the bronzes were cast in relief with details incised in the wax model.
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Diagram of DSCOVR DSCOVR is built on the SMEX-Lite spacecraft bus and has a launch mass of approximately . The main science instrument sets are the Sun-observing Plasma Magnetometer (PlasMag) and the Earth-observing NIST Advanced Radiometer (NISTAR) and Earth Polychromatic Imaging Camera (EPIC). DSCOVR has two deployable solar arrays, a propulsion module, boom, and antenna. From its vantage point, DSCOVR monitors variable solar wind conditions, provides early warning of approaching coronal mass ejections and observes phenomena on Earth, including changes in ozone, aerosols, dust and volcanic ash, cloud height, vegetation cover and climate.
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The first EPIC image, released by NASA on July 6, 2015, shows the full sunlit Earth from away, centered on the Americas. The Earth Polychromatic Imaging Camera (EPIC) takes images of the sunlit side of Earth for various Earth science monitoring purposes in ten different channels from ultraviolet to near-infrared. Ozone and aerosol levels are monitored along with cloud dynamics, properties of the land, and vegetations. EPIC has an aperture diameter of , a focal ratio of 9.38, a field of view of 0.61°, and an angular sampling resolution of 1.07 arcseconds.
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They display pointed > or round arch windows with Venetian carved foliage, polychromatic brickwork > and prominent gables with ornamental bargeboards. Other houses from the same > period, and in the same streets, are plainer and combine more subtle Gothic > detailing with classically inspired features such as Italianate eaves. A > particularly attractive street from the first phase of development is Mount > Pleasant Crescent, which is lined by two-storey terraces. These compact > dwellings are exceptional for their attractive tri-partite Venetian-style > windows with contrasting red brick arcades, and slender cast-iron columns.
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"A revision of the South American fishes of the Genus Nannostomus" by Dr. Stanley H. Weitzman and J. Stanley Cobb, Smithsonian Press,1975 N. unifasciatus, is broadly distributed throughout the Amazon basin, in Brazil, the Guiana Shield, Colombia, Venezuela, and northern Bolivia. As a result, the species is polychromatic with many geographic populations manifesting subtle differences in color pattern. Over the years, some of these color morphs have been erroneously described as separate species. Further taxonomic confusion arose when various authors erected other genera for Nannostomus unifasciatus and its congeners, Nannostomus eques and Nannostomus harrisoni.
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Furness's Provident Building (1888–90) was a disappointment, a busy Bavarian fantasy attached to a model of creative rationalism. On its lower stories, he replicated the polychromatic materials of the bank and echoed the Gothic arch, but mostly the office building was ponderous and pretentious. Its steep, 3-story red-tile roof was matched by a new pyramidical roof for the bank's tower—a duncecap on what had been the brightest student. The office building's 1945 demolition (and the removal of the duncecap) enabled architects to look at the original bank anew.
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Pfeiffer contributed to the extension of known imaging modalities such as Differential interference contrast microscopy and Dark-field microscopy to the X-ray regime. In 2006 he demonstrated the feasibility of phase sensitive X-ray imaging with conventional, polychromatic X-ray sources and a grating interferometer . This enlarged the potential of X-ray phase imaging for clinical use as before the technique was only possible at synchrotron facilities. Pfeiffer further introduced the extraction of a supplementary signal (so-called "dark-field signal") sensitive to porous microstructure of a sample based on X-ray scattering .
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A new 650 cc model was added to the lineup late in 1960. The frame was altered so that the top rails were closer together at the front of the seat area to create what became known as the 'slimline' featherbed. A 650 cc engine was installed to create the Norton Manxman. First built from 7 November 1960 to September 1961, these machines were a Limited Edition for the USA only, in custom-cruiser style - with high handlebars, all polychromatic blue paint and bright red seat with white piping round the edge.
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State Trading Corporation building (also known as Jawahar Vyapar Bhawan) in New Delhi, India, was designed by the architect Raj Rewal, and is home to the government-owned State Trading Corporation of India. Built between 1976 and 1989, it is considered to be an important example of modernist architecture in post-Independence India. Rewal used elements from the Japanese Metabolism style, but departed from it by drawing inspiration from Mughal architecture, as seen in the polychromatic sandstone cladding, instead of concrete. The "structurally expressive" design employs Vierendeel trusses.
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The roofline is lined with stone and brick corbels below the cornice, with elongated stone corbels on the projecting gabled entrance tower in the center of the east (front) facade. A high brownstone stoop with cast iron newels and rails leads from the street to a deeply recessed, arched first floor entrance with clustered colonnettes. The mix of the brick and stone with the slate tiling on the dormer-pierced mansard roof gives the building a polychromatic effect. The Holy Name Society building and school are both similar structures of brick and stone.
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Along with his siblings, he began making utilitarian pieces along with candle holders and incense burners. However over his more than 40-year career, he experimented with more decorative pieces, refining his techniques to create his own unique style. He became particularly noted for his inventive trees of life, diversifying themes to include mole, other religious stories and festivals such as Day of the Dead . Castillo Orta became the center of popular art in Izúcar de Matamoros, leading the other artisans and making the town's polychromatic pottery known internationally.
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For polychromatic sources, wavelength ranges can be selected using filters. Alternatively, laser beams are usually monochromatic (although two or more wavelengths can be obtained using nonlinear optics) and LEDs have a relatively narrowband that can be efficiently used, as well as Rayonet lamps, to get approximately monochromatic beams. Schlenk tube containing slurry of orange crystals of Fe2(CO)9 in acetic acid after its photochemical synthesis from Fe(CO)5. The mercury lamp (connected to white power cords) can be seen on the left, set inside a water-jacketed quartz tube.
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President Marcelo Rebelo de Sousa in the Presidential Office with former President of Brazil Michel Temer. The main space is highlighted by a linear sequence of rooms along the south elevation, dominated by the Sala das Bicas, a grand vestibule paved in marble. The ceiling is paneled with an allegorical composition of carved flora and 18th-century polychromatic azulejo ashlars, completed in the last quarter of that century. In the space one can observe along one wall two round marble fountains with lion heads, which give the space its name.
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The main stage and exhibition hall occupies the entity of the space, with the "L"-shaped foyer opening to the square and road. The ceilings of the exterior spaces, tribune and balconies are covered stucco with circular, copper lamps. Over the lateral doors that access the theatre balconies are ceramic elements in the forms of polychromatic wings, in bass relief with birds and flowers. The three foyers, on separate floors, are linked to the main staircase, and decorated in varnished woods, glass/windows and integrated copper and metal elements.
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Calico printers at work are depicted in one of the stained glass windows made by Stephen Adam for the Maryhill Burgh Halls, Glasgow. Confusingly, linen and silk printed this way were known as linen calicoes and silk calicoes. Early European calicoes (1680) were cheap plain weave white cotton fabric, or cream or unbleached cotton, with a design block-printed using a single alizarin dye fixed with two mordants, giving a red and black pattern. Polychromatic prints were possible, using two sets of blocks and an additional blue dye.
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The resultant single-span roof was long, wide, and high at the apex above the tracks, and was the largest such structure in the world at the time of its completion. Construction of a hotel fronting the station, the Midland Grand Hotel, began in 1868, and it opened in 1873; the design of the hotel and station buildings was by George Gilbert Scott, selected by competition in 1865. The building is primarily brick, but polychromatic, in a style derived from the Italian gothic, and with numerous other architectural influences.
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One of the first, and grandest, Art Deco apartments along the Concourse was the Park Plaza Apartments, completed 1931. Intended to rise ten stories before being damaged by fire during construction, the final building is eight stories and decorated with bright polychromatic terra cotta. Park Plaza was the first Bronx Deco apartments by Horace Ginsberg & Associates, who would help change the face of the borough. These buildings featured Deco hallmarks of geometric patterns and colored brick, with indirectly-lit public interiors floored with tile, framed with metal, and capped by mosaic ceilings.
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Colored LEDs emit a specific color light (monochromatic light), regardless of the color of the transparent plastic lens that encases the LED's chip. The plastic may be colored for cosmetic reasons, but does not substantially affect the color of the light emitted. Holiday lights of this type do not suffer from color fading because the light is determined by the LED's chip rather than the plastic lens. White LEDs are similar in most respects such as power and durability, but utilize a two-stage process to create the white (polychromatic, or broad spectrum) light.
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The spectacular late-Baroque decorations of the chapel of the sacristy and its Transparente (mid-18th century) by Francisco Hurtado Izquierdo and containing polychromatic marbles, solomonic columns, and gilded leafwork, contrast with the rocky serene simpleness of the cloisters. The silver decoration of the church included a silver “custodia” weighing some 24 arrobas (approximately 15 kilogram per arroba), which among with many other items, was probably looted by Napoleon's troops. There is a large 15th-century carved wood reredos in excellent condition, and a fine ironwork screen segregating the monastic choir from the nave.
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The polychromatic marbles enclose a stucco relief representing Francis Xavier welcomed to heaven by angels. The altarpiece shows the Death of Francis Xavier in Shangchuan Island by Carlo Maratta. The arches are decorated with scenes from the life of the saint, including Apotheosis of the saint in the center, Crucifixion, Saint lost at sea, and at left, Baptism of an Indian princess, by Giovanni Andrea Carlone. The silver reliquary conserves part of the saint's right arm (by which he baptized 300,000 people), his other remains are interred in the Jesuit church in Goa.
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C.J. will explain that the room has a certain type of artwork in it. (For example, artwork with a monochromatic, polychromatic, or black-and-white color scheme, portraits, landscapes, etc.) The task is to find a picture of the same type in the basement of the museum (which must be accessed by clicking an arrow). In the basement, C.J. will hold a broom and must be guided around using the arrow keys. The whole basement is dirty, but whenever C.J. moves around, the space he is on is cleaned off.
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In 1987, Lainhart released his first solo recording of electronic music, These Last Days for the Periodic Music CD label.Tokafi The music's characteristic blend of impressionist sonorities, minimalist structures and real-time performance techniques established an early reputation that spanned the worlds of ambient music, jazz, new age and the avant garde.BBC A follow-up recording, Polychromatic Integers, was prepared but remained unreleased until 2011 on the Periphery label. Numerous recordings for CD, vinyl and the Internet followed since then, establishing Lainhart's reputation as one of the seminal American composers working in the electronic medium.
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Edward William Godwin Northampton Guildhall, built 1861–64, displays Godwin's "Ruskinian Gothic" style. Design, 1872, Edward William Godwin V&A; Museum no. E.515-1963 Edward William Godwin (26 May 1833, Bristol – 6 October 1886, London) was a progressive English architect-designer, who began his career working in the strongly polychromatic "Ruskinian Gothic" style of mid- Victorian Britain, inspired by The Stones of Venice, then moved on to provide designs in the "Anglo-Japanese taste" of the Aesthetic Movement and Whistler's circle in the 1870s. Godwin's influence can be detected in the Arts and Crafts Movement.
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In 2018, Pullen participated in the CAFKA (Contemporary Art Forum Kitchener and Area), a biannual, free public exhibition of contemporary art in the cities and surrounding areas of Kitchener, Waterloo and Cambridge. For CAFKA.18, Pullen produced a mural, titled Recognize Everyone, that covers the elevator shaft and the wraparound fire escape on the building of 27 Gaukel Street in Kitchener. The polychromatic star mural work is an immersive art work, that visitors can walk into as they climb the stairs of the building. In her series Interval for Halifax (2013), Pullen wrapped playground swings in Scotchlite tape.
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The other, an early Isambard Kingdom Brunel railway bridge. At its western edge close to the town centre is the Financial Services company The Prudential where the residential options are modern large apartments and The Orts road Council estate. The area is the eastern boundary of Reading Borough Council with Wokingham District Council. Residentially, it is composed, at the eastern end, of terraced houses which were originally built for the employees of Huntley and Palmers and Sutton's Seeds and they feature the distinctive polychromatic brickwork where one of the best kept examples is School Terrace and the Victorian Newtown Primary School.
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Born in Langenstein, Hesse, Germany, Pabst immigrated to the U.S. in 1849 and settled in Philadelphia, Pennsylvania, where he would make his professional career. The excellence of his craftsmanship elevated him above his peers, as did the strongly architectonic (building-like) quality of his furniture designs—often massively scaled, with columns, pilasters, rounded and Gothic arches, bold carving and polychromatic decoration. He was a master at cameo-carving (intaglio) in wood - veneering a light-colored wood over a darker, then carving through to create a vivid contrast. Some pieces were adorned with decorative tiles, others with painted glass panels backed with reflective foil.
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It was to be primarily a post office, but large enough for other government agencies to have offices in it. The city was required to acquire the land; the total cost of the project was limited to $350,000 ($ in modern dollars). Acquiring the site of the Exchange Building took more than half the available money. William A. Potter, then Supervising Architect of the Treasury, had designed a large, elaborate building in the High Victorian Gothic mode, with polychromatic stone siding. The lot turned out to be too small for the building, so the property of an adjacent bank was purchased for $150,000.
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Jacksonville developer Vestcor began a historic preservation of the building in 2002 after obtaining a $17.8 million, 1.5% interest, 20-year loan from the city of Jacksonville.Hunt, David: "Downtown housing developer asks Jacksonville for help" Florida Times-Union, December 30, 2009 The company restored many architectural features including polychromatic terra-cotta panels, decorative ceilings and steel panels."11 East Forsyth Apartments" Vestcor Companies Elevators, HVAC, electrical, plumbing and other infrastructure was modernized and a six-story parking garage was constructed adjacent to the building. The second floor was converted into a large community club room, a fitness center and a media room.
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The simple profile of the Chapel of São Pedro das Cabeças, on the outskirts of Geraldos The ornate facade of the Church of Nossa Senhora dos Remédios The architectural importance of the settlement is highlighted by the Royal Basilica built in 1713, a church whose interior is covered in polychromatic tiles, depicting the legendary Battle of Ourique, and site of the museum of the royal treasury. Near this church, at the beginning of Rua D. Afonso I, is Church of Nossa Senhora dos Remédios and the Museum of Lucerne, another centre that promotes the cultural heritage of the parish/municipality.
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Other works are, statues of the Madonna and child and of St Joseph in Madrid, the polychromatic figures in the church of St Isodoro, the Magdalena and the Gertrudlis in the church of St Martin (Madrid), the crucifixion in the Nuestra Señora de Gracia (Madrid), the statuette of St Francis of Assisi in Toledo, and of St Joseph in the St Nicholas church in Murcia. Mena traveled to Madrid in 1662. Between 1673 and 1679 Mena worked at Córdoba. About 1680 he was in Granada, where he executed a half-length Madonna and child (seated) for the church of St. Dominic.
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1512), and of Baldassare Peruzzi's tomb of Pope Adrian VI in Santa Maria dell'Anima (1523-1530), all constructions with which Sansovino was likely familiar from his second period in Rome (1516-1527). Detail of the polychromatic façade showing oriental breccias, marbles from Verona and Carrara, limestone from Istria, and lapis lacedaemonius from Greece. Locally available red Verona marble is used for much of the structure: the cornices, crowning balustrade, the panelling inside the niches, and the frames of the upper reliefs. The balustrade also contains opalescent lumachelle from the valley of San Vitale near Verona, noted for its fossilized mollusk shells.
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Other Roman ensembles of the period are likewise suffused with theatricality, dominating the surrounding cityscape as a sort of theatrical environment. Probably the best known example of such an approach is trapezoidal Saint Peter's Square, which has been praised as a masterpiece of Baroque architecture. The square is divided in two parts, designed by Gian Lorenzo Bernini on an unprecedented colossal scale to suit the space and evoke awe. Bernini's own favourite design was the polychromatic oval church of Sant'Andrea al Quirinale (1658), which, with its lofty altar and soaring dome, provides a concentrated sampling of the new architecture.
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From Strabo's reconstructed map Polychromatic, gilded glass vase of Meroitic manufacture excavated in Sedeinga, on display at the National Museum of Sudan. The Greek letters read "Drink and you shall live" Inter-human and cultural exchange between the Hellenic and Nubian civilisations started at least two and a half millennia ago. The Greek presence in the Nile Valley and its considerable impact on ancient Nubia have long been recognised by scholars. The first recorded contact took place in 593 BC: graffiti at Abu Simbel reveal that large numbers of Greek mercenaries served under Psamtik II in his invasion of the Sudan.
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The nave's coloured ceiling was repainted in 1963 at the instigation of the then Vicar's wife, Mrs Barnett. Until 1561 the church had a central tower which either collapsed or was removed, and has been replaced with the current tower over the west door. Bells were cast for the tower by Roger Purdy. The polychromatic stone Church of St Thomas was built during 1856 and 1857 and extended by Samuel Sanders Teulon in 1864, commemorating the work of Richard Jenkyns the Dean of Wells who had cared for the poor in the east of the city.
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261 Moreover, they could be more creative about relationship between form and function, seeking novel but appropriate ways to introduce elements not found in mediaeval Gothic churches, so as to create interiors that met the particular congregational needs of the independent or nonconformist chapel-builders of the nineteenth century;Powell (1980) accommodate Sunday Schools and meeting rooms, with sometimes distorting effects on the physiognomy of the building; use confined city plots in efficient ways by varying from strict gothic floorplans and orientations; and experiment with a wide range of materials, and polychromatic designs, not found in mediaeval buildings.
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A great advantage of the usage of polychromatic radiation is the shortening of the exposure times and this has recently been exploited by using white synchrotron radiation to realize the first dynamic (time-resolved) Phase contrast tomography. A technical barrier to overcome is the fabrication of gratings with high aspect ratio and small periods. The production of these gratings out of a silicon wafer involves microfabrication techniques like photolithography, anisotropic wet etching, electroplating and molding. A very common fabrication process for X-ray gratings is LIGA, which is based on deep X-ray lithography and electroplating.
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In 304 BC, Pictor decorated the Temple of Salus on the Quirinal Hill, with a representation (presumably) of the battle gained by Bubulcus over the Samnites. His paintings were preserved until the reign of the Emperor Gaius, when the temple was destroyed by fire. They were probably held in little estimation, as Pliny, to whom they must have been known, neither acquaints us with the subjects, nor commends the execution. The art of painting in its rude and early forms was general in Italy, but was founded on the Etruscan style, which never advanced beyond a flat polychromatic treatment.
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Vase production in Athens stopped around 330–320 BC possibly due to Alexander the Great's control of the city, and had been in slow decline over the 4th century along with the political fortunes of Athens itself. However, vase production continued in the 4th and 3rd centuries in the Greek colonies of southern Italy where five regional styles may be distinguished. These are the Apulian, Lucanian, Sicilian, Campanian and Paestan. Red-figure work flourished there with the distinctive addition of polychromatic painting and in the case of the Black Sea colony of Panticapeum the gilded work of the Kerch Style.
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Hearst's color humor supplement was named The American Humorist and advertised as "eight pages of polychromatic effulgence that make the rainbow look like a lead pipe". It debuted on October 18, 1896, and an advertisement in the Journal the day before boasted: "The Yellow Kid—Tomorrow, Tomorrow!" The strip was titled McFadden's Row of Flats, as the World claimed the Hogan's Alley title. A week earlier, on October 11, Outcault's replacement at the World George Luks took over with his own version of Hogan's Alley; he had handled the strip earlier, the first time that May 31.
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Back in France, he worked with urbanist Robert Auzelle, completing several pieces for him such as a giant sculpture for Clamart cemetery (1957) (published in National Geographic) and a large sculpture for Joncherolle cemetery (1974) (published in "Concrete Quarterly" – July/September 1977). Calka completed 47 works of Public Art, including sculptures, bas-reliefs, and polychromatic works. In 2004, a large metal bas-relief for the Church St Jean l'Evangéliste of Dole which covers one wall of the building was completed from his designs. Calka was named "Patrimoine du XX siècle" by the Ministry of Culture (26 March 2007).
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Gravenhorst and Kage were together making their own "polychromatic variations." In 1965 Jäger was invited to show his "Lichtgrafiken" (light graphics) at the group show Fotografie '65 in Bruges, an exhibition of rarely experimental and often abstract photography that was conceptually opposite to that organized by Karl Pawek, also then showing in Bruges; the documentary Weltausstellung der Photographie: Was ist der Mensch ('World Exhibition of Photography: What is Man'). In 1968, Gottfried Jäger introduced the term Generative Photography as means of constructing photography on a systematic-constructive basis in the title of an exhibition of the Bielefelder Kunsthaus.
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The basic procedure is to manufacture the oxide layer with at least two known thicknesses (the layer can be made with photolithographic techniques and the thickness measured by ellipsometry). The thicknesses used depends on the sample being measured. For a sample with fluorophore height in the range of 10 nm, oxide thickness around 50 nm would be best because the FLIC intensity curve is steepest here and would produce the greatest contrast between fluorophore heights. Oxide thickness above a few hundred nanometers could be problematic because the curve begins to get smeared out by polychromatic light and a range of incident angles.
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The trophozoites are usually found in mature erythrocytes but may be seen in polychromatic erythrocytes during heavy infections. They are variable in shape, usually irregular in outline. Outgrowths extending beyond the main body of the trophozoites are absent. Fully grown trophozoites usually possess one or two minute brown pigment granules which are usually terminal in position and located close to each other. The meronts are fan-like and contain 7 - 8 merozoites (range: 4 - 10). They measure ~5.0 micrometres (range:3.3-6.2) in length, 2.2 micrometres in width (range: 1.7-3.1) and 9.4 square micrometres (range: 5.4-12.2) in area.
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The building is a narrow, two-floor rectangular plan (main floor and basement), with a front façade that includes the establishment name A Brasileira and respective address number. The narrow façade with a differentiated decoration, includes many polychromatic elements: an arched cement façade with inlaid windows; with two reclined figures on either end of the curves; a geometric, cornice-like entranceway with three separate double-doors (the central access being the largest), fronting onto Rua Garrett; and ornate handles and fixtures. Below the boilerplate, in relief, is the figure of a man taking a coffee, surrounded by curvilinear flourishments.
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It comprises the essential elements of a typical 20th century Catholic church including a collection of religious furniture and icons, in particular altars, statues and stations of the cross. The place is important because of its aesthetic significance. A prominent landmark on the elevated ridge of St Paul's Terrace, Spring Hill and visible from many parts of the immediate neighbourhoods of Fortitude Valley and the Brisbane CBD, Villa Maria is distinguished by its distinctive picturesque massing and fine polychromatic brickwork. It is distinguished by restrained embellishment including geometric patterning in the brickwork, decorative entrance porches and decorative corbelling.
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These naves are covered by wood ceilings and false vaults over granite cornices. The high choir, in wood, with balustrade overhangs the lower choir and interior baptistry, situated in the tower. In the third pillar opposite the epistle is a wooden pulpit, with rectangular basin over corbels (also in wood) that contort around the pillar with guardrail decorated in palms and crosses, surmounted by baldachin and reached by stone stairs, with guard of wooden balusters, skirting the pillar. At the front of the lateral naves are chapels under triumphal archways sheltering the retables in polychromatic and gilded woodwork, surmounted by oculi.
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Kelly's Directory of Lincolnshire with the port of Hull 1885, pp.478, 480 This previous village school is described by Nikolaus Pevsner as "surprisingly large... [with] polychromatic brickwork and an array of lancets." He believes the architect might have been Joseph Sawyer who had built other board schools in the area.Pevsner, Nikolaus ; Harris, John: The Buildings of England: Lincolnshire, Penguin (1964); revised by Nicholas Antram (1989), Yale University Press, p.384. Occupations listed in 1855 included a shopkeeper, cattle dealer, two farmers and a butcher, and in 1872 a bricklayer, a farmer, a beer house proprietor and two saddlers.
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These doorways are framed by stonework and double lintel, surmounted by cornice. On the ground floor, on the epistole side, is a door that connects it to the interior of the tower, with staircase to the choir. On each of the pillars in the first part of the nave are holy water fonts in the form of conche shells. On the opposite side, is a section with rounded archway over pillars to the baptistry, located at the base of the left bell tower, and covered in vaulted ceiling and decorated in corner stonework, topped by cornice and its walls in polychromatic azulejo tile.
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The polychromatic face brick structure with outside walls solid brick, bluestone sills, slate tiled gable roof, three gabled roofs with clerestories or lanterns is supported on cast iron columns at nine metre intervals with angle iron truss-framed roofs, central trusses span 15 metres side spans 9 metres. Terracotta lumber is used in the upper floor for fire prevention. Twenty six arched doors are on the east side and twenty eight on the west side with loading platforms for horse-drawn vehicles on the outside, and rail platforms to three tracks internally. the building has an overall length of 370m.
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A 650SS converted into a café racer Norton produced a custom touring 650 on 7 November 1960 for export only, sold in the US as the Manxman finished in polychromatic blue and a bright red seat with white piping and much chrome plate, and a special exhaust system only fitted to the Manxman 650 twin. The Manxman 650 twin produced 52 bhp, giving it a top speed of more than . A race machine developed by Heinz Kegler had speeds of and won pebble beach races. In September 1961 the 650SS was introduced to the UK home market.
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East of Glasgow Cross is St Andrew's in the Square, the oldest post- Reformation church in Scotland, built in 1739–1757 and displaying a Presbyterian grandeur befitting the church of the city's wealthy tobacco merchants. Also close by is the more modest Episcopalian St Andrew's-by-the- Green, the oldest Episcopal church in Scotland. The Episcopalian St Andrew's was also known as the "Whistlin' Kirk" due to it being the first church after the Reformation to own an organ. The Doulton Fountain in Glasgow Green Overlooking Glasgow Green is the façade of Templeton On The Green, featuring vibrant polychromatic brickwork intended to evoke the Doge's Palace in Venice.
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They built the house on property deeded to them by her father, John DeWindt, near her family's own cottage. Withers' design was heavily influenced by the sketches and design ideas of his mentor Downing, and appeared eight years later in an edition of Downing's popular Cottage Residences, among many other plans Withers had added. It retains the form and reserve of many of Downing's designs, but adds the "polychromatic enrichment" of the Ruskinian gothic styles Withers was beginning to explore. A garden next to the house remains as originally planned, and the interior retains many period details such as a tiled marble entry floor and dark walnut moldings.
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Front of building, 2015 The Memorial Hall is a substantial polychromatic brick building with a corrugated iron roof. It has a two-storeyed wing with a gabled roof fronting onto East St, and a two-storey height hall with a gabled roof extending out to the east: the site slopes away and another storey is included at the rear. The East St elevation has a central entry portico, and a decorative gable breaks the roofline above. The eastern end of the building finishes by expressing the hall roof in a gable end, which is flanked by gables projecting to the north and south; this elevation also has a central timber portico.
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The interior uses Quarella stone, Forest of Dean sandstone and "Penarth" alabaster to create a polychromatic effect. The chancel is decorated with bands of marble and has a marble floor inlaid with Italian mosaic tiles. A brass memorial plaque commemorates Griffith Llewellyn and his wife Madelina (née Grenfell), both of whom are buried in the churchyard, close to the ruins of the original Saint Baglan's church, which is also listed. Stained glass windows in the church include designs by William Morris (St Cecilia with Musical Angels) and Edward Burne-Jones (Crucifixion with the Virgin Mary and St John), as well as a Celtic Studios design installed in 1972.
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The two lateral altars and presbytery are decorated in Baroque-era gilded wood, while the roofs consist of painted wood in vegetal designs. The walls of the prebystery present two grand panels of polychromatic azulejo tile, while a stone-worked baptismal fountain completes the utilitarian aspects of the church. Although the church and convent are dedicated to São Pedro de Alcântara, the main altar displays an image of the Assumption of the Virgin, surrounded by a gilded wood decorations comparable to the Matriz Church of Horta, on which this was likely based. In the sacristy is a grande armorie constructed of Jacaranda wood imported from Brazil.
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It is believed that the main influence of Seabrook's design for MacRobertson Girls’ High School was William Dudok Hilversum’s town hall (1923–31).< Both these buildings have similar brickwork, rectilinear interlocking facades, functional planning, open air classrooms, flat roof, industrial aesthetic and a modern interior fitout. The brickwork used in both consists of two stretchers followed by a header in a Flemish bond with an extra wide and deeply raked horizontal joint which emphasises horizontality, while the cream brickwork emphasised shadows. Seabrook selected local Glen Iris Cream bricks at a time when they were only being used sparingly in buildings such as in polychromatic brickwork.
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The first and most decorative of the buildings, the 1901 Queen Victoria Silver Jubilee Memorial Technical College is the cornerstone of the complex both in its location and commanding presence of its design and articulation. The 1901 Queen Victoria Silver Jubilee Memorial Technical College building is located at the corner of Limestone and Ellenborough Streets. This intact stately two storey brick masonry building with basement has facades heavily ornamented with an eclectic combination of elements and details including the use of polychromatic tuck pointed brickwork and painted cement rendered details. The hipped roof is of red painted corrugated iron with a rectangular roof lantern which is surmounted by cast iron cresting.
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Thomas Hughes (like his fictional hero, Tom Brown) once carved his name on the hands of the school clock, situated on a tower above the Old Quad. The polychromatic school chapel, new quadrangle, Temple Reading Room, Macready Theatre and Gymnasium were designed by well- known Victorian Gothic revival architect William Butterfield in 1875, and the smaller Memorial Chapel was dedicated in 1922. The Temple Speech Room, named after former headmaster and Archbishop of Canterbury Frederick Temple (1858–69) is now used for whole-School assemblies, speech days, concerts, musicals – and BBC Mastermind. Between the wars, the Memorial Chapel, the Music Schools and a new Sanatorium appeared.
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Perhaps the single most famous piece of Angolan art is the Cokwe thinker, a masterpiece of harmony and symmetry of line. The Lunda-Cokwe in the north eastern part of Angola is also known for its superior plastic arts. Other signature pieces of Angolan art include the female mask Mwnaa-Pwo worn by male dancers in their puberty rituals, the polychromatic Kalelwa masks used during circumcision ceremonies, Cikungu and Cihongo masks which conjure up the images of the Lunda-Cokwe mythology (two key figures in this pantheon are princess Lweji and the civilizing prince Tschibinda-Ilunga), and the black ceramic art of Moxico of central/eastern Angola.
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148-9 In Australia, Dissenting Gothic became known as "Victorian Free Gothic" and whilst the established Protestant Church followed its English counterpart in favouring "Academic Gothic", the independent or nonconformist denominations often chose Victorian Free Gothic. They more freely experimented with picturesque silhouettes and polychromatic surfaces; taking more from Ruskin's interest in 'impure' Gothic styles and the artistic merits of Gothic, than from Pugin's High Church and mediaevalist approach.Victorian Free Gothic (Sydney Architecture) As the nineteenth century wore on, Dissenting Gothic became widespread not only as old chapels were rebuilt, but also amongst the new city suburbs that were being established in England and elsewhere. for example, as Clark (2001) p.
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The symbol of Occidental was chosen in 1936 after some deliberation and many other proposed symbols, including stylized letters, a star as in Esperanto and Ido, a setting sun to represent the sun in the west (the Occident), a globe, and more. The tilde, already used by the Occidental-Union, was eventually selected based on five criteria: symbolic character, simplicity, originality, inconfusability, and for being bichromatic (having two colours) as opposed to polychromatic. Beyond the five criteria, the Occidentalists at the time referenced the lack of a fixed meaning for the tilde in the public sphere, and its similarity to a waveform, implying speech.
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The new station building appears to have taken three years to complete: the drawings are dated 1871, while the official opening was in 1874. The second station, like the first, was constructed to allow for a future extension of the line into the city, the lines initially extending just far enough past the building to accommodate a steam locomotive. John Whitton, the engineer-in-chief, designed a neo- classical station building to be constructed of brick, with the decorative detail formed using polychromatic and relief work. Almost immediately the demand for platform space during peak times resulted in additional branch lines and platforms being constructed adjacent to the passenger station.
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This indulgences were conceded by Pope Pius IV in the > year of 1564 by request of D. Álvaro de Castro, being Ambassador of Rome The presbytery is marked by the vestiges of a wooden balustrade, and covered by the rocks that cover the space. The church walls include fascia inscribed on the rocks and a concave retable in marble, crowned by cornices. The central axis includes three panels: the central panel, includes the tabernacle framed by pilasters and flanked by two niches, and the lateral oblique panels, which also have a niche. The main altar, in polychromatic marble front, is designed with organic composition.
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The building has changed little in external form and expression, although many of the external openings have been glazed with the enclosure of the verandahs. The three-, four- and five-storeyed, polychromatic facebrick building designed in a Romanesque idiom, has its principal elevations to St Paul's Terrace and Warren Street. The E-shape building is sheltered by terracotta tiled roofs and Celtic crosses crown all the gable parapets. The massive quality of the exterior is relieved by a regular rhythm of round and flat arches to the verandah openings and characterised by bands of geometric patterning, light coloured brickwork to sills and arches, decorative arcading and scalloped corbelling.
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This is essentially a large single storey structure with a major internal storage space and flanked on the north and south by small single storey annexes. Construction is of load bearing English bond face brickwork with attached piers to all four facades, the open end is supported now by steel RSJ posts and in-filled with corrugated steel vertical sheets on steel frames. The north and south brick gables enclose the iron sawtooth roof structure and has a series of large circular vents bordered by polychromatic brickwork. The vents enclosing the interior roof structure are fitted with timber louvres while the adjoining ones are completely open.
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The Beauty of Durrës (also called The Beautiful Maiden of Durrës or The Belle of Durrës) is a polychromatic mosaic of the 4th century BC and is the most ancient and important mosaic discovered in Albania.BANK OF ALBANIA Coin with “The Beauty of Durrës” Fjalori Enciklopedik Shqiptar, Akademia e Shkencave - Tiranë, 1984 (MOZAIKU I DURRËSIT ME PORTRETIN E NJE GRUAJE, page 726) The mosaic is elliptical in shape and depicts a woman’s head on a black background, surrounded by flowers and other floral elements. It was discovered in 1918 in Durrës, and since 1982 has been on display at the National Historical Museum of Albania in Tirana.
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Depending on the quartz glass used for the lamp body, low-pressure and amalgam UV emit radiation at 254 nm and also at 185 nm, which has chemical effects. UV radiation at 185 nm is used to generate ozone. The UV lamps for water treatment consist of specialized low-pressure mercury-vapor lamps that produce ultraviolet radiation at 254 nm, or medium-pressure UV lamps that produce a polychromatic output from 200 nm to visible and infrared energy. The UV lamp never contacts the water; it is either housed in a quartz glass sleeve inside the water chamber or mounted externally to the water, which flows through the transparent UV tube.
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This was the last grand portal built in the Mamluk period; it is framed with to the mosque is decorated with finely carved marble bands and kufic calligraphic script. The marble was carved in a geometric pattern and decorated by polychromatic stones and colored stucco in high relief. The main door is a masterpiece of bronze work taken from the Mosque-Madrassa of Sultan Hassan, while the dome is a typical example of Mamluk stone masonry with a cylindrical base and carved zig-zag pattern. The original facades were particularly tall for the period, due to the extra height added by the Fatimid towers at the base of the minarets.
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This rectangular structure has an advanced central corp and is covered by an articulated roof with an integrated central skylight. The facades in cornerstone and granite have successive pilasters supporting an entablature with frieze, superimposed by wooden flap. Each vain opens to a rounded arch and is interconnected by frieze at the arched cornice, along with glass iron doors, painted in green and decorated with geometric motifs (that integrate simple and polychromatic glasses). The interior is plastered and painted blue, encircled granite base and sections defined by pilasters where iron structures that support that roof are affixed, lined with wooden lathes painted in blue.
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The Honden and Heiden of the shrine were constructed in 1617 in the flamboyant Azuchi-Momoyama style, similar to that of the Nikkō Tōshō-gū. The buildings make use of black lacquer with elaborate carvings, painted in polychromatic colors, and gold leaf. The buildings were collectively designated an Important Cultural Property of Japan in 1908, and this status was raised to that of National Treasure of Japan in 2010. In addition, another 13 structures of the Kunō-zan Tōshō-gū as National Important Cultural Properties (ICP)s.. In addition to these buildings, the Kunō-zan Tōshō-gū also has a number of art treasures, many of which are on display at its museum.
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Schematic electrical diagram of the Bausch & Lomb Spectronic 20 Colorimeter The Bausch & Lomb Spectronic 20 colorimeter uses a diffraction grating monochromator combined with a system for the detection, amplification, and measurement of light wavelengths in the 340 nm to 950 nm range. Schematic optical diagram of the Bausch & Lomb Spectronic 20 Colorimeter As shown in the schematic optical diagram (see left), polychromatic light from a source in the system passes through lenses which are reflected and dispersed by the diffraction grating to restrict the range of light wavelengths. This restricted range of wavelengths is then passed through the sample to be measured. The intensity of the transmitted light is determined by a phototube detector.
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Between 1930 and 1940, Vogt developed an individual genre, the animated landscape, with works like La cour de ferme (fig. 9), or Les maisons Alsaciennes (INV 2022), a preliminary study of which is extant (fig. 10). Such paintings, exhibited both in the Paris Salons and the exhibitions of Mulhouse’s Société des Arts, stand out thanks to his polychromatic palette. The uniform light, creating the paintings’ peaceful atmosphere, is consistent with contemporary painting, with its paring down of detail and simplification of form. In 1957 the Raymond Duncan Gallery in Paris mounted a retrospective of this painter ‘of luminous landscapes’, to use the words of the famous Alsatian illustrator and cartoonist Henri Zislin.
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Since G protein–coupled receptors are known to activate Signal transduction in cells, it should not be surprising to find MC1R involved in development. As one example at the cellular level, preventing signalling by MC1R stopped erythropoiesis from proceeding from the polychromatic cell stage (poly-E in the figure) to the orthochromatic cell stage (ortho-E in the diagram). The same report showed that neutralizing antibodies to MC1R prevented phosphorylation of STAT5 by erythropoietin, and that MC2R and MC5R were also involved, as shown in their model. MC1R deficiency and osteoarthritis One example at the tissue level showed the involvement of MC1R in the normal and pathological development of articular cartilage in the mouse knee.
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The offering hall of the temple held the most significance for the royal mortuary cult. The sanctuary was in length and wide. It was entered through a black granite door, that opened up to a white alabaster paved floor, walls with dado of black granite above which was fine white limestone decorated with polychromatic bas- relief depicting divinities bringing offerings to the king, and covered along its length by a vaulted ceiling with painted stars. A low alabaster altar stood at the west wall, at the foot of a granite false door, possibly covered in copper or gold, through which the spirit of the king would enter the room to receive his meal, before returning to his tomb.
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Approach road to the South Gate at Gordion The Gordion Project renewed excavations in 2013, focusing on the southern fortifications and revealing a new approach and gateway to the Citadel Mound. This new South Gate was originally constructed during the 9th century BC, broadly contemporaneous with the Early Phrygian phase of the East Citadel Gate. The South Gate approach saw further modification with bastions added in the 8th and 6th centuries, and the walled causeway leading to the gate ultimately reached over 65 m in length, the longest known for a citadel gate in Anatolia. As elsewhere on the Citadel Mound, the Middle Phrygian phase of the South Gate made use of large polychromatic blocks.
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First projection Patrice Warrener is a French light artist, mostly known for his Chromolithe Polychromatic Illumination System. Warrener has made more than 60 chromolithe installations over the last fifteen years, lighting up buildings in close to a dozen different nations. Warrener's work has influenced the rising numbers of Light Festivals in many cities of World Heritage status around the world. Trained as a printer, Patrice made his mark in the world of light shows: first, with the French co-operative Open Light, and then with his collaboration with the English musician, and electronic music pioneer, Tim Blake, with whom he introduced Laser Lighting effects in their Crystal Machine shows in the early 1970s.
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The painting was intended to decorate the altarpiece of the altar located to the left of the north transept. This altar has a decoration that dates back to the time of Pope Clement VIII, made of gilded stucco and polychromatic marble. It has been consecrated to Saint Erasmus of Formia since 1605 after the relics of the saint were transferred to the site from the old basilica where the cult of this saint dates back to 1119. It is an altar that is poorly endowed for his worship but which is the subject of fervent worship on the part of the faithful, which no doubt explains its continued existence in the new basilica.
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The church was Street's first commission in London, which he took on after his widely admired work in the diocese of Oxford and at All Saints, Boyne Hill, Maidenhead, where he delivered buildings in polychromatic red brick and stone. He had also published in 1855, to considerable acclaim, his book Brick and Marble Architecture in Italy. In 1858, he was commissioned by the three daughters of the Bishop of Gloucester (James Henry Monk) to construct a church in their father's memory in what was, at the time, an area of slums and run-down tenements in a very poor part of London. The parish was inhabited by around 31,000 people at the time.
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Botryosphaeran was demonstrated in extensive studies on mice and mammalian cell-lines (hamster, rat, human) that it was not mutagenic (assessed by the micronucleus test), nor was it genotoxic as assessed by the Ames test and Comet assay. When administered orally to mice by gavage, botryosphaeran reduced the clastogenic effect of cyclophosphamide-induced micronucleus formation in bone marrow (polychromatic erythrocytes) and peripheral blood (reticulocytes) cells. Using mammalian cell lines: lung fibroblasts (Chinese hamster) and hepatocarcinoma cells (rat), botryosphaeran was confirmed not to be mutagenic nor genotoxic by the micronucleus test and Comet assay procedures. Botryosphaeran exhibited no mutagenicity, and protected cultured human whole blood lymphocytes against DNA damage and cell death induced by bleomycin throughout the cell cycle stage.
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Drawing of Grating-based imaging Grating-based imaging (GBI) includes Shearing interferometry or X-ray Talbot interferometry (XTI), and polychromatic far-field interferometry (PFI). Since the first X-ray grating interferometer—consisting of two phase gratings and an analyzer crystal—was built, various slightly different setups for this method have been developed; in the following the focus lies on the nowadays standard method consisting of a phase grating and an analyzer grating. (See figure to the right). The XTI technique is based on the Talbot effect or "self-imaging phenomenon", which is a Fresnel diffraction effect and leads to repetition of a periodic wavefront after a certain propagation distance, called the "Talbot length".
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This analogy with ABI, already observed when the method was initially developed, was more recently formally demonstrated. Effectively, the same effect is obtained – a fine angular selection on the photon direction; however, while in ABI the beam needs to be highly collimated and monochromatic, the absence of the crystal means that EI can be implemented with divergent and polychromatic beams, like those generated by a conventional rotating-anode X-ray tube. This is done by introducing two opportunely designed masks (sometimes referred to as “coded- aperture” masks), one immediately before the sample, and one in contact with the detector (see figure).Drawing of laboratory-based edge-illumination, obtained through (“coded”) aperture x-ray masks.
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REVY C, the tallest building at Darling Island and on the eastern foreshore of Pyrmont, it is a prominent landmark visible from surrounding vantage points at Sydney Harbour and contrasts with the lower and elongated wharf structures such as Jones Bay Wharf. Revy A and B are a pair of large warehouses, consisting of a five-storey block and a six-storey block linked by a square central tower topped by a water reservoir tower of Romanesque design. The blocks and tower are of polychromatic brick with terracotta-tiled, gable hipped roof and exposed rafters at the eaves. Internally, the buildings are constructed with massive timber columns and beams supporting timber floors.
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It was the place where Blasco Ibáñez wrote Mare Nostrum, a novel filmed later in 1926. The garden inspired by Andalusian and Arabian-Persian styles contains species such as Ficus macrophylla, Araucaria heterophylla , palm trees, banana trees or scented rosebushes. It is a tribute to Vicente's favourite writers : Cervantes, Dickens, Shakespeare or Honoré de Balzac, whose busts can be found at the entrance and to whom he dedicated several fountains and rotundas. Its main buildings are a small elevated villa with polychromatic pottery which houses a library and a personal movie projector room, and a main house (Villa Emilia) in the lower part of the property that dates from the 19th century.
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Many ancient copies of the bronze have been found (and the Baiae find suggests industrial-scale production of them), but the most famous is the 3.05 m (10 ft) high example found in the ruins of a Roman villa in a vineyard near Velletri in 1797. This example is now in the Louvre, with Accession number is Ma 464 (MR 281). It has traces of red colour in the hair and around the eyes and mouth, a preparatory layer for a full polychromatic scheme. Upon rediscovery, it was purchased by Vincenzo Pacetti, who added the peak of the helmet, the straight forearm, the hands, the feet, the snakes, and a section of the cloak, and polished the overall surface.
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Preceding the main chapel is a triumphal arch that leads into a structure illuminated by two windows to the north and south, with floor slabs and a ceiling covered in 35 panels (7 in the transverse direction and 5 in the longitudinal direction) painted with Marian scenes. On the north side, there is a straight door surmounted by archesolol in an arch with an inscription and topped by coat-of-arms in Ançã stone, opposited by straight door surmounted by arcosolol (similar to the previous one). The walls are fully lined with geometric patterns, polychromatic tile and stylized vegetal motifs. The retable of the main altar in gilded carvings and painted board depicting Christ.
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Light therapy—or phototherapy, classically referred to as heliotherapy—consists either of exposure to daylight or some equivalent form of light as a treatment for seasonal affective disorder (SAD), or exposure of the skin to specific wavelengths of light using polychromatic polarised light to treat a skin condition. It is used as a treatment for wintertime seasonal affective disorder and in circadian rhythm disorders, such as delayed sleep phase disorder. There is tentative evidence to support its use to treat non- seasonal psychiatric disorders, in particular major depression and depression in bipolar disorder. As a treatment for disorders of the skin, the second kind of light therapy is meant to correct psoriasis, acne vulgaris, eczema and neonatal jaundice.
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The chapel is a three-storey volume characterised by a blind, semi-circular apse and tall narrow arched window openings between flat buttresses to the sides. The fine polychromatic brickwork includes light brick banding defining the arches and bases of the long windows and eaves decorated with corbelling in a machicolation motif. The earlier stages of the building (Warren Street wing and half the St Paul's Terrace wing) have internal load bearing masonry walls with timber and reinforced concrete floors and the later 1960s wings are of concrete column and beam construction with concrete slabs. The plan is arranged as a cloister treatment around central courtyards with external verandahs and colonnades, the chapel dividing the cloister into two.
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In the northern part of this terrace the temple was raised on a high podium, built in blocks of tufa and travertine in the load-bearing parts and elsewhere in cement. The temple itself was in blocks of Carrara marble, with a pronaos as well as a facade of full columns on the front and the same order continued on half columns against the outside walls of the cella. In the excavations different polychromatic terracotta slabs were recovered with reliefs of mythological subjects (of the "lastre Campana" type). The adjoining library (bibliotheca Apollinis), according to the Forma Urbis Romae, was constituted from two apsidal halls, with the walls decorated by a row of columns.
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Among the works attributed to them are several outstanding and varied Ecce Homos, all executed with careful technique and deep emotion. Some of these are quite small, finely modeled, and polychromatic; in contrast, one the charterhouse is larger than life, combining noble, muscular forms with well-observed, realistic detail, fitting for popular devotion. Similar to this last, and thus attributed to the brothers, is the Crucifixion in the sacristy of the Granada Cathedral, which strongly influenced Montañés's Cristo de la Clemencia in the sacristy of the Seville Cathedral. With echoes of these artists, but with a direct and strong link to the art of de Rojas, the sculptor Alonso de Mena, was a naturalistic observer, albeit his was an external realism of static, impassive gestures.
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Verandah posts on these first two wings consist of rectangular profile timber supports with simple column capitals. The third wing or two-storeyed section is more elaborate both in scale and detail. It has open verandahs on the north-western side with lower verandahs now enclosed in casement windows and weatherboard cladding, The upper construction and detailing of this two-storey wing includes polychromatic brickwork, timber floors, shuttered windows and doors and a steeply-hipped roof surmounted by a widows' walk with cast iron lace balustrading. The transition between the second wing and the two storey wing is defined on the northern side by an elaborately-detailed bay window which provides an outlook over the garden from the breezeway/ballroom - now the largest room in the house.
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Two slab monuments – that on the left is to William Spinkes (1701) Wooden wall monument to Phillip Burton (died 1683) In the chancel on the South wall can be found a wall monument to Ann Say of 1793 with an oval inscription panel of white marble against a grey background. In the North aisle wall where it meets the North chapel can be found a mutilated tomb recess with an incomplete moulded trefoil head and a portion of a 13th-century coffin lid with a plain cross. In the South aisle on the South wall is a polychromatic wall monument to Ralph Lane of Woodbury Hall (1732) and his wife Elizabeth (1754). Nearby is another wall monument to their daughter Elizabeth Lane (1717).
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A double-leafed iron palisade entry gate, decorated with fleurs de lis and flanked by brick piers, addresses Brown Street and provides access to stone steps leading to a brick and stone valve house with a Tuscan Doric-style entry portico with flanking pilasters. Adjacent is a valve house in polychromatic brick, with a concrete roof and decorative cornice. Directly to the north is the larger and more recent Newcastle Reservoir No. 2, completed in 1918 and still in use. Addressing the corner of Tyrrell Street and Brown Street, its walls are of reinforced concrete, concealed on the northern and western elevations by a ventilated brick curtain wall with a brick dentil course and concrete capping to the base of the inset panels.
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The Romans also reorganized the territory; in the Roman villa in Quinta da Senhora da Ribeira (in Tralhariz), there were discovered vestiges of the construction of a sumptuous residence, completed with polychromatic tile, colonnaded interiors and carved relief. During this era Ansiães was a Roman city, designated Aquas Quintianas. The town had three altars dedicated to the local protector Tutelae Tiriensi, the other to Bandu Vordeaeco (to the cult of Lusitania in Seixo de Ansiães) and lastly to Jupiter Optimum Máximo () in Pombal. There are also visible remains of the Roman roads, including a variant of the Roman road that connect Braga and Chave, over many Roman era bridges, such as Ponte das Olgas (Pereiros) and Ponte do Torno (Amedo).
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The spectacular spire incorporated E.C.Robins' concept for an architectural version of 'stars and stripes' - the use of a polychromatic colour scheme of red and white stones. On the Tower's north entrance, above the apex of a large archway, a stone was added bearing the title Lincoln Tower. Under the paved basement the coffin of preacher Rowland Hill was re-located from Surrey Chapel, with a tablet inset into the interior wall above. There was another tablet in memory of his successor, James Sherman, with a still larger tablet giving the name and purpose of the tower – to commemorate emancipation by the martyred Lincoln, the contribution of half the cost of the tower by American citizens, and as a pledge of international brotherhood.
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The Queen commissioned Durant to produce a memorial to her uncle, King Leopold I of Belgium, for Saint George's Chapel in Windsor Castle. The monument, showing the king reclining with his hand on a lion in front of two angels in relief holding the flags of England and Belgium, was unveiled at Windsor in 1867 where it remained until 1879 when it was moved to Christ Church in Esher. Durant's style of working further developed over time, becoming more naturalistic and further embracing the use of polychromatic marble, a technique promoted by de Triqueti, for example in her 1871 portrait of a child, Nina Lehmann. During her life, Durant promoted equal access for women to education, the vote and to professional careers.
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Aside from the striking quality of its polychromatic art, Altamira's fame stems from the fact that its paintings were the first European cave paintings for which a prehistoric origin was suggested and promoted. Sautuola published his research with the support of Juan de Vilanova y Piera in 1880, to initial public acclaim. However, the publication of Sanz de Sautuola's research quickly led to a bitter public controversy among experts, some of whom rejected the prehistoric origin of the paintings on the grounds that prehistoric human beings lacked sufficient ability for abstract thought. The controversy continued until 1902, by which time reports of similar findings of prehistoric paintings in the Franco-Cantabrian region had accumulated and the evidence could no longer be rejected.
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Satsuma earthenware tea storage jar (chatsubo) with paulownia and thunder pattern, late Edo period, circa 1800-1850 Bowl with a multitude of women, Meiji era, c. 1904, Kinkōzan workshop, by Yabu Meizan is a type of Japanese pottery originally from Satsuma Province, southern Kyūshū. Today, it can be divided into two distinct categories: the original plain dark clay made in Satsuma from around 1600, and the elaborately decorated ivory-bodied pieces which began to be produced in the nineteenth century in various Japanese cities. By adapting their gilded polychromatic enamel overglaze designs to appeal to the tastes of western consumers, manufacturers of the latter made Satsuma ware one of the most recognized and profitable export products of the Meiji period.
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HSC=Hematopoietic stem cell, Progenitor=Progenitor cell, L-blast=lymphoblast, Lymphocyte, Mo-blast=Monoblast, Monocyte, Myeloblast, Pro-M=Promyelocyte, Myelocyte, Meta-M=Metamyelocyte, Neutrophil, Eosinophil, Basophil, Pro-E=Proerythroblast, Baso-E=Basophilic erythroblast, poly-e=Polychromatic erythroblast, Ortho-E=orthochromatic erythroblast, Erythrocyte, Promegakaryocyte, megakaryocyte, Platelet The average lifespan of inactivated human neutrophils in the circulation has been reported by different approaches to be between 5 and 135 hours. Upon activation, they marginate (position themselves adjacent to the blood vessel endothelium) and undergo selectin- dependent capture followed by integrin-dependent adhesion in most cases, after which they migrate into tissues, where they survive for 1–2 days. Neutrophils are much more numerous than the longer-lived monocyte/macrophage phagocytes. A pathogen (disease-causing microorganism or virus) is likely to first encounter a neutrophil.
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A color image, or polychromatic, is divided into four basic colors: cyan, the magenta, the yellow and black (the so-called system CMYK (short name from cyan, magenta , yellow and black ), generating four photolith film images, a photo filtered with each of the three basic colors plus a B&W; film (addition of the three). For black-and-white images, such as text or simple logos, only one photolith film is needed. The photolith film it is sometimes recorded by an optical laser process on an imagesetter machine, coming from a digital file, or by a photographic process in a contact copier, if a physical copy of the original already exist. In the old offset printing plates acquire text or images to be printed after being sensitized from a photolith film.
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The Sanctuary of Our Lady of Lapa and Residence of the Society of Jesus is a Christian sanctuary in the civil parish of Quintela, municipality of Sernancelhe of northern Portugal. The historical residence of the Society of Jesus, this site was transformed to support pilgrims to the site, and is marked by a chapel delineated by Corinthian columns, supporting plinths surmounted by simple frieze and cornice. The interior was decorated in azulejo tile of polychromatic vegetal design, with triumphal arch dividing the sanctuary from the college, identifiable by the large granite rock in its interior, where legend says the image of the Virgin Mary was first discovered. In this space is the oratory of Senhora das Dores (Our Lady of Sorrows) with its nativity by António Ferreira (particularly visible in the juxtaposition of various representations).
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Shenstone House of 1855: Chamberlain's first building in Birmingham, and the first High Victorian building in the town Chamberlain was born in Leicester on 21 June 1831, son of a Baptist minister, and received his architectural training with a local practice. After further experience in London and a period travelling in Italy he moved to Birmingham in 1853. He designed two buildings for John Eld, the business partner of his uncle. The first of these to be completed, Eld's house at 12 Ampton Road, Edgbaston (1855) survives to this day and already shows many of the features that would characterise much of Chamberlain's later work: a gothic structure in polychromatic brick with finely crafted decoration inspired by natural and organic forms. The shop at 28–29 Union Street for Eld & Chamberlain has been demolished.
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Particularly significant to Egyptologists is the recovery of a vast quantity of clay sealings bearing the names of kings, officials, temples, palaces, gods and other details, which provide a plethora of information on administrative and economic organisation in the Old Kingdom. The most significant architectural discovery was made in the southern temple, where, under nearly of sand, a long east-west oriented hypostyle hall with twenty-six wooden lotus columns, arranged in four rows of five columns, was uncovered. Verner states that this was the first discovery of a hypostyle hall from ancient Egypt, which he described as "absolutely unexpected". Its floor was paved with clay, which held the limestone bases of the wooden columns – none of which has been preserved beyond fragments of stucco and polychromatic paint – that supported the approximately high wooden ceiling.
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The Rey- Waldstein Building In 1998, Longy purchased a new building at 33 Garden Street to add further performance and practice space as well as classrooms and offices. Originally built in 1905, and renovated by Longy in 2005, the historic structure is now named in honor of Margaret Rey and H.A. Rey, the creators of Curious George, along with longtime supporters of Longy, and Margaret Rey’s parents, Felix and Gertrude Waldstein. In 2006, the Cambridge Historical Commission recognized Longy with a Preservation Award for the quality of its restoration and renovation, designed by Wolf Architects of Boston. In addition to providing universal access into the building, Longy restored the original polychromatic exterior, improved the public spaces, and, among other renovations, provided attractive new lounge space and practice rooms in the basement.
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283 Much of the early study of Greek vases took the form of production of albums of the images they depict, however neither D'Hancarville's nor Tischbein's folios record the shapes or attempt to supply a date and are therefore unreliable as an archaeological record. Serious attempts at scholary study made steady progress over the 19th century starting with the founding of the Instituto di Corrispondenza in Rome in 1828 (later the German Archaeological Institute), followed by Eduard Gerhard's pioneering study Auserlesene Griechische Vasenbilder (1840 to 1858), the establishment of the journal Archaeologische Zeitung in 1843 and the Ecole d'Athens 1846. It was Gerhard who first outlined the chronology we now use, namely: Orientalizing (Geometric, Archaic), Black Figure, Red Figure, Polychromatic (Hellenistic). Neoclassical "Black Basalt" Ware vase by Wedgwood, c.
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The lobby The Film Center's first-floor interior, highlighted by Kahn's "highly individualistic version of the Art Deco style",Robins, Anthony W. (ed.) "Film Center Building Designation Report", New York City Landmarks Preservation Commission (November 9, 1982) which shows pre-Columbian influences, was designated a New York City landmark in 1982. According to the New York Landmarks Preservation Commission's designation report: > All the various elements of Kahn's unique approach to modernistic design > were brought to bear on the Film Center Building's interior. Its walls and > ceilings are handsomely worked in the plaster tapestry effect, and the > polychromatic and decorative schemes are broad enough to include mosaics, > elevator doors, the directory board, vent grilles, staircase risers, and > elaborate, purely ornamental, three-dimensional motifs of abstract cylinders > and stylized movie cameras. The overall effect is one of Kahn's most > striking interior designs.
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Skinner stated that the video had an "upbeat summer nightlife vibe in a tropical Miami setting" which "Rihanna and Khaled carry out that concept by dressing in bright-hued outfits, serving up some serious polychromatic summer looks straight off the runway." During a breakdown of the video Skinner stated that Rihanna's first look saw her wearing a "psychedelic Balenciaga high- waisted floral-print leggings with matching "Knife" boots, a bright-pink vintage Betsey Johnson crop top and a pair of oversize crescent-shape Lynn Ban earrings." This was accompanied by a floral head scarf, green vintage Versace belt and a pair of pink Karen Walker sunglasses. In the following scene Rihanna wore a "short turquoise off-the-shoulder silk chiffon dress by Alberta Ferretti" along with a pair of gladiator sandals designed by Rihanna and Manolo Blahnik.
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In the two front side bays, on each level, former sleep-outs have been enclosed with fixed glass panels in aluminium frames. In the central bay, on the upper level, there is a fixed glass window with an aluminium frame; on the lower level a central entrance porch has been constructed over the original stairs. Above the porch is a rendered panel with the name of the building, BULOLO, in low relief "Art Deco" style lettering. The decorative detailing in the front elevation is simple but effective, and includes: the use of polychromatic brickwork in the parapet; the use of multiple brick pilasters at the corners of the building; the creation of textured effects using expressed brickwork; and the incorporation of six small "grotesques", two in each of the front bays, at about the height of the upper floor.
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Additionally as in crystal interferometry a general limitation for the spatial resolution of this method is given by the blurring in the analyzer crystal due to dynamic diffraction effects, but can be improved by using grazing incidence diffraction for the crystal. While the method in principle requires monochromatic, highly collimated radiation and hence is limited to a synchrotron radiation source, it was shown recently that the method remains feasible using a laboratory source with a polychromatic spectrum when the rocking curve is adapted to the K spectral line radiation of the target material. Due to its high sensitivity to small changes in the refraction index this method is well suited to image soft tissue samples and is already implemented to medical imaging, especially in Mammography for a better detection of microcalcifications and in bone cartilage studies.
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Trinity Chapel Complex, later the Serbian Orthodox Cathedral of St. Sava (; Crkva svetog Save), is a historic church at 15 West 25th Street between Broadway and the Avenue of the Americas (6th Avenue) in the NoMad neighborhood of Manhattan, New York City. The church building was constructed in 1850-55 and was designed by architect Richard Upjohn in English Gothic Revival style. It was built as one of several uptown chapels of the Trinity Church parish, but was sold to the Serbian Eastern Orthodox parish in 1942, re-opening as the Cathedral of St. Sava in 1944. The church complex includes the Trinity Chapel School, now the cathedral's Parish House, which was built in 1860 and was designed by Jacob Wrey Mould, a polychromatic Victorian Gothic building which is Mould's only extant structure in New York City.
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The use of a monochromatic color provides a strong sense of visual cohesion and can help support communication objectives through the use of connotative color. The relative absence of hue contrast can be offset by variations in tone and the addition of texture. Monochromatic in science means consisting of a single wavelength of light or other radiation (lasers, for example, usually produce monochromatic light), or having or appearing to have only one color (in comparison to polychromatic). That means according to science the true monochromatic images can be strictly created only of shades of one color fading to black. However, monochromatic also has another meaning similar to “boring” or “colorless” which sometimes leads to creating a design composed from true monochromatic color shades (one hue fading to black), and the colors created from the one hue but faded to all wavelengths (to white).
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As Japan became exposed to Western culture at the end of the Edo period, many bunjin began to incorporate stylistic elements of Western art into their own, though they nearly always avoided Western subjects and stuck strictly to traditional Chinese ones. Master Kuwayama Gyokushū (1746–1799) was the acutest theorist on Japanese literati painting. In his three books – Gyokushū gashu (Collected works of Gyokushū, 1790), Gaen higen (A Modest Commentary on Painting, 1795) and Kaiji higen (Humble Words on Matters of Painting, 1799) – invited all Japanese literati painters to apply the theories and literati ideals of Dong Qichang (J: Tō Kishō, 1555–1636). According to the scholar Meccarelli, Kuwayama may be considered the ‘Japanese Dong Qichang’, but he mixed both the polychromatic landscapes typical of professional painters and the monochromatic landscapes of literati styles, and he applied a new and more flexible criteria for classification.
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He had associations with critic Russell Sturgis and was mentored by Thomas R. Jackson, through whom he came to admire American architect Richard Upjohn and English social reformer and art critic John RuskinPeter Bonnett Wight Papers Wyerson and Burnham Archives Art Accessed January 2010 Art Institute of Chicago Wight opened his own office in 1862 and produced designs for the "highly decorative and polychromatic" High Victorian Gothic National Academy of Design. Wight was involved in the establishment of the Society for the Advancement of Truth in Art in 1863, before leaving New York after a decline in commission to move to Chicago after the Great Chicago Fire of 1871 where demand for architects who could help with rebuilding was high. In Chicago he worked with Asher Carter and then William Drake. Wight designed commercial and residential buildings, as well as furniture and wallpaper in the Eastlake style.
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Catherine died here on 31 December 1705, leaving in her will the Palace of Bemposta to her brother, King Peter II of Portugal, who in 1668 had become regent on behalf of his mentally unstable elder brother Afonso VI of Portugal and king in 1683. On 29 October 1706 a royal chapel was constructed. In 1707, King John V, made the house and lands part of the House of the Infantado, so that it became the residence of the Portuguese monarchy's Infantes and Infantas of the realm, such as Infante Francis, Duke of Beja, King John V's brother and Lord of the Infantado, and his son João da Bemposta, named so for having resided in the palace. After the 1755 Lisbon earthquake, the palace required extensive reconstruction, including the royal chapel, which was completely destroyed. Under the direction of Manuel Caetano de Sousa (1742–1802), the building was remodeled and an elaborate chapel was constructed, with a rectangular vestibule and nave and polychromatic mosaics.
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This source grating, which is usually an absorption grating with transmission slits, creates an "array of individually coherent but mutually incoherent sources". As the source grating can contain a large number of individual apertures, each creating a sufficiently coherent virtual line source, standard X-ray generators with source sizes of a few square millimeters can be used efficiently and the field of view can be significantly increased. Since the position of the interference fringes formed behind the beam-splitter grating is independent of wavelength over a wide energy range of the incident radiation the interferometer in phase-stepping configuration can still be used efficiently with polychromatic radiation. For the Moiré pattern configuration the constraint on the radiation energy is a bit stricter, because a finite bandwidth of energy instead of monochromatic radiation causes a decrease in the visibility of the Moiré fringes and thus the image quality, but a moderate polychromaticity is still allowed.
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The settlement suffered the damage from an earthquake in the second half of 4th century, but shortly afterwards a villa, showing a compartment decorated with a vast polychromatic mosaic, was installed above the older buildings. Aequum Tuticum at the center of Tabula Peutingeriana Aequum Tuticum, mentioned in Tabula Peutingeriana and Itinerarium Antoninum, was then abandoned by 6th century, presumably due to Barbarian invasions. The high-medieval sources mention the locality (probably already uninhabited) first as Casalis Janensis, and then as Saint Eleuterio, the latter being a name of Greek-Byzantine origin (at the end of 9th century Byzantine troops, coming from Apulia, had occupied Benevento, which they held for several years). However, there are traces of a resettling in the Middle Ages (12th century), when the ancient Roman walls were incorporated into those of a building forming part of the new inhabited hamlet also called "Saint Eleuterio" (not to be confused with the nearby modern Contrada Saint Eleuterio), then in turn abandoned.
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Hardenbrook goes farther than many previous Oz authors in an attempt to provide a contemporary conceptual framework for the fictional world of Oz. In a Prologue titled "The Story So Far," Hardenbrook specifies that Oz exists in a parallel universe, in "a galaxy very like our own Milky Way" with "a star virtually identical to our sun...." The star has "a planet that corresponds to Earth" -- though it differs in possessing "two extra moons and a polychromatic ring system...." The planet contains continents and archipelagoes that include "Dodgesonia" and "Geiselgea" as well as "Baumgea." Hardenbrook goes on to summarize the narrative background of the Oz mythos -- the fairy queen Lurline and the whole scope and structure of magic, wizards and sorceresses crucial to Baum's fantasy -- before he gets to his story in earnest.Dave Hardenbrook, The Unknown Witches of Oz, Lakeville, MN, Galde Press, 2000; Prologue, "The Story So Far," pp. xi-xiv.
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The Jedd Jones House in Malad City, Idaho was built in 1905. It was listed on the National Register of Historic Places in 1979. Its NRHP nomination asserts: > The wider architectural significance of the house stems from the impression > of quality evinced by its precise and well-preserved rendering and > architectural detail. It is as fine an example as any in the state—its > effectiveness in this regard is reduced only by the overall white paint > which obscures the modestly polychromatic exterior which the red brick > together with the white gables would once have displayed—of what we have > called the Queen-Anne-goingWestern-Colonial-style, That is, it illustrates > very aptly the movement from the asymmetrical and visually elaborate Queen- > Anne style, which was popular in Idaho's upper-class residential > architecture during the last decade of the 19th century, and towards the > more symmetrical and severe Western Colonial, which was popular throughout > the state in the first decade of the twentieth; the transitional and later > styles are more prevalent in slower-developing, agrarian southeast Idaho > than is the earlier one.
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It is the earliest example in European architecture of a cemetery building (as opposed to monuments or gates) being designed and built in "Egyptian Revival" style. The presence of George Loddiges, nurseryman and scientist, on the garden cemetery's design team, may account for Hosking's final choice of the Sacred Lotus flower for the decorative motifs at the tops of the Abney Park entrance pylons; a plant closely associated with the Nile and Egyptian religious symbolism. Botanical iconography was evidently preferred to "sphinxes" and other populist or polychromatic Egyptian revival designs; and from Bonomi's accurate studies and drawings in Egypt, both the "flower heads" / "seed heads" and petals/sepals of the Sacred Lotus could be perfectly carved as pylon decorations that survive to this day (see photo). Public fascination with Egyptology was then in vogue, and with Bonomi's help, and the Cemetery Company's close control over the brief, Hosking is said to have produced "Egyptial Revival" entrance features more perfectly, and on a more complete scale, than at Mount Auburn Cemetery where the concept had originated.
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Post was born on December 15, 1837 in Manhattan, New York, to Joel Browne Post and Abby Mauran Church. After graduating from New York University in 1858 with a degree in civil engineering, Post became a student of Richard Morris Hunt from 1858 to 1860. In 1860, he formed a partnership with a fellow student in Hunt's office, Charles D. Gambrill, with a brief hiatus for service in the Civil War. Post served as the sixth president of the American Institute of Architects from 1896 to 1899. Among the prominent private houses by Post were the French chateau for Cornelius Vanderbilt II (1879-82) that once stood at Fifth Avenue and 57th Street (that was photographed by Albert Levy while being built), and the palazzo that faced it across the street, for Collis P. Huntington (1889-94). In Newport, Rhode Island he built for the president of the Louisville and Nashville Railroad, C.C. Baldwin, "Chateau-Nooga" or the Baldwin Cottage (1879-80), a polychromatic exercise in the "Quaint Style" with bargeboards and half-timbering; John La Farge provided stained glass panels.
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The place is important in demonstrating the principal characteristics of a particular class of cultural places. Villa Maria is significant for its considerable architectural merit, particularly the well-composed exterior and chapel, and is a fine example of the work of Hennessy & Hennessy, Keesing and Co and J.P. Donoghue, prominent architects in Brisbane and Sydney who undertook many projects for the Catholic church during Archbishop Duhig's time. With is picturesque massing and finely crafted polychromatic brickwork, distinctive round arches, arcading, prominent tower, restrained ornamentation, geometric patterning in the brickwork and use of corbelling in a machicolation motif, Villa Maria is a fine example of a building in the Romanesque idiom, a style commonly employed in the design of religious places during the inter-war period. The principal architectural component of the Villa Maria complex, the chapel, incorporates defining elements of the Romanesque most notably masonry construction, round arched windows, patterned brickwork, brick detailing including the machicolation motif; and within a towering vaulted ceiling, restrained embellishment and narrow coloured glass windows.
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The Chigi vase itself is a polychromatic work decorated in four friezes of mythological and genre scenes and four bands of ornamentation; amongst these tableaux is the earliest representation of the hoplite phalanx formation – the sole pictorial evidence of its use in the mid- to late-7th century,”not just the first but the best representations”, Murray, Early Greece, 1993, p. 130. The Chigi vase is predated by the Macmillan aryballos depicting hoplite single combat (BM GR 1889.4-18.1). and terminus post quem of the "hoplite reform" that altered military tactics. The lowest frieze is a hunting scene in which three naked short-haired hunters and a pack of dogs endeavour to catch hares and one vixen; a kneeling hunter carries a lagobolon (a throwing cudgel used in coursing hares) as he signals to his fellows to stay behind a bush. It is not clear from the surviving fragments if a trap is being used,Schnapp, 1989, figs. 99-100, some arching lines in the zone above might indicate a trap.
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The Marrickville station complex consists of two station buildings: the Platform 1 building (1895) and Platform 2 building (1911), with associated platforms built at the same time, along with a booking office on Platform 2 (1917). It also includes two sets of pedestrian steps: a northern set (1917) and a southern set (mid-1980s), along with an overbridge on Illawarra Road (1911). Marrickville railway station consists of one wayside platform to the south and an island platform to the north. Passenger rail only uses the south side of the island platform, with the Metropolitan Goods Line running on the north. The station buildings are original, as is the booking office at the western end of Platform 2. The station is accessed via stairs or lifts to both platforms from the concourse, or at a level entry onto Platform 2 from Station St. Illawarra Road is a major commercial shopping strip. ;Platform building - Platform 1 (1895) The Platform 1 building is a rectangular polychromatic face brick building with gabled roof and surrounding cantilevered awning clad in corrugated roof sheeting. The exterior was restored to original condition during upgrades in 2016.
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Hunter Jack was one of the few Lillooet natives who spoke Chilcotin, and is said to have learned it in order to end a bloody war which had raged over the rich hunting and food-gathering grounds of the area of the upper Bridge River, including the basin of Tyauughton Creek. The end of the war is said to have come about at a place now called Graveyard Valley, which lies over a narrow defile from the head of Relay Creek, Tyaughton's northernmost tributary, which is in the upper basin of Big Creek, a tributary of the Chilcotin River. The polychromatic mineralization of the Tyaughton basin's geology caught the eye of early explorers, but despite extensive exploration no viable mines have ever operated in its boundaries. In the 1930s, times when the Bridge River Country was as much known for big-game hunting as for gold mining, Charlie Cunningham, a guide and multi-faceted entrepreneur in the goldfield hub of Gold Bridge first promoted the idea of protecting the region north of Gun Creek and west of Tyaughton and south of Relay, as a wildlife preserve and scenic wilderness treasure, and in the process became a pioneering wildlife cinematographer.
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Thereafter followed paintings in shades of ocean blues and earthy island sepias on linen, such as Hawaiian Three Graces (1941), Three Hawaiian Women (1941), and Three Hawaiians in a Library (1943). Three Hawaiian Women, in the collection of the Honolulu Museum of Art, demonstrates this stark contrast to the polychromatic blaze of her earlier works and evidences her lasting belief that “every true artist knows that his work must evolve or die […] therefore, the moment he has perfected some type of style of expression peculiar to himself he must move on or he becomes academic.” Working on a smaller scale in the 1950s, for example, Tennent executed a series of portraits featuring Hawaiian alii in oils, prints, and watercolors; she treated Hawaiian royalty as descendants from the gods, possessed of heroic proportions and serene facial features that conveyed “a gentleness that tends to make a predominance of convex lines, only seen in the great art of the world.” Until her death in 1972, Tennent would continuously diversify across media and scale, but never once did she stray from or grow tired of her beloved Hawaiian subjects.
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He eliminated his own colour mixtures and worked/poured directly from the paint manufacturer's tin. The result is a rhythmic and polychromatic ‘net-work of trails which loop, entwine and lose themselves in an indecipherable complexity’-(Review of Gimpel Fils exhibition, Manchester Guardian, 19-1-1953 ) These ‘Space/Time’ paintings may remind us of ‘electrons around a nucleus’ or ‘the trial of a jet plane‘,-(Colin St John Wilson, Notes on paintings by J D H Catleugh, January 1953 ) but they have no subjects as such. Titles like Space-Time Configuration and Bi-planar Structure remind us that these are products of a post atomic world and as contemporary in 2007 as they were then. October 1953 Painting onto Textiles exhibition at the ICA organised by Hans Juda, editor of The Ambassador to promote textile designs by contemporary painters. Three designs from this exhibition were put into production by David Whitehead Ltd, these same textile designs were included in Artist's Textiles in Britain 1945–1970 exhibition at the Fine Art Society 2003. By the mid-1950s J D H Catleugh, moving towards Victor Passmore and the British Constructionists, was working on a series of paper collages.
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The pathways that provide visitors a close glimpse of the archaeological excavations in Silves Castle The visitor and interpretative centre within the shadow of the castle Entrance to the castle In excavations beginning on 13 August 2005 and lasting into 2006, archaeologists Rosa and Mário Varela Gomes brought light onto the vestiges of the Muslim ruins, and in particular the 11th century governors palace, occupied by Al-Mutamid (from designs of polychromatic stucco). During the construction of the tea house, vestiges of another building, that was occupied by the Infante Henry, along the southwest of the military square, near the walls. In March 2005, a risk assessment map for the zone was completed for the principal entrance-way by the DGEMN. This resulted in a proposal by the IPPAR and Direção Regional de Cultura de Faro to expand the zone of protection to include the walls and Almedina Gate, on 12 June 2008, and approved on 1 October 2008 by the IGESPAR. The DGEMN made its first intervention in the decade of 1940, demolishing the buildings annexed to the walls of the castle, and construction to lower the soil surfaces near the entrance to the castle and in the military square.
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