78 Sentences With "row of columns" | Random Sentence Generator

The Colonnade has a row of columns and runs alongside the Rose Garden.

The falls were named in 1885 by members of the Arnold Hague Geological Survey probably because the falls resemble a row of columns at regular intervals.

The facade of each of these rooms once possessed a row of columns although only stumps remain in situ.Kelly 1996, pp.204-205. Fox 1987, 2008, pp.183-184.

Northeast view of the Temple of Athena Nike, a prostyle temple (but also an amphiprostyle temple, since there is a row of columns at the back as well.). The Roman temple of Bziza, a tetrastyle prostyle temple. Prostyle is an architectural term designating temples (especially Greek and Roman) featuring a row of columns on the front. The term is often used as an adjective when referring to the portico of a classical building, which projects from the main structure.

Behind the front row of columns, there is a porch which is almost rectangular in shape. This has a width of 6.25 meters in the center and a depth of 2.82 meters.

In addition to the columns at the edge of a span of 70 metres, it has a middle row of columns, which was unusual at the time. The current station building was completed on 1 August 1960.

The second sanctuary was a temple of the Doric order which in size and splendor was said to surpass all other temples in the Peloponnese, and was surrounded by a triple row of columns of different orders.Meyer, Gesch. der bildend. Künste ii. p. 99, &c.

Intef's tomb in El-Tarif at Thebes is a saff tomb. Saff stands for "row" in Arabic and refers to the double row of columns and entry ways fronting a large trapezoidal courtyard at the eastern end of which was a mortuary chapel.Lehner, Mark. The Complete Pyramids.

The outer row of pillars standing on the base and is decorated with compositional chapters. The inner row of columns stands on the podium and has Ionic capitals. The pediment of the temple front shows a bow. The architraves and pediments are richly decorated with architectural decoration.

The cloister was built in the second half of the 11th century, with the same style as the cloister of the monastery of Santa Maria de l'Estany. The porches contain columns, including a row of columns at the corners. The capitals are adorned with vegetable and geometric ornamentation.

Lybidska was designed by a team of architects including Valentyn Ezhov, Anatoliy Krushynskyi, Tamara Tselikovska, Oleksiy Panchenko, in addition to artists Ernest Kotkov, Nikolai Bartossik. Prior to its renaming, the station featured a large bas-relief by M. Vronsky depicting Dzerzhinsky himself, although it was removed shortly after the station was renamed. Located at a depth of underground, Lybidska was designed as a deep column station that features a three separate halls—a central hall, and two platform halls—which are separated from each other by a row of columns. The row of columns in the station is unique in that it was designed as a double row, leaving an empty space in between each of the two rows.

Two years later the high altar was built. In the middle. Instead of a painting, the figure of Madonna and Child was used. In addition to the double row of columns, the figures of the apostles, left Paul, right Peter and two other saints (all by Josef Georg Witwer 1775).

It seems that the temple had an outside wall with windows or doorways, in a layout similar to that of a Greek encircling row of columns (peripteral design).Rowland, p.492 The dimensions of the Temple were around 45 x 30 meters. The Temple in Jandial has the general layout of a Greek Temple.

The monastery has a rectangular layout and a red-tiled timber roof. The main entrance faces towards the east; a second faces due west. The supporting buildings and monks' cells are built around a centrally located church designed in Byzantine style. The main aisle of the church is lined with an attractive row of columns.

The main hall is accessed through a verandah with a row of columns linked by semicircular arches. The walls and columns are embellished with floral and geometric designs. The huge main hall was initially designed for staging theatrical performances. It has around 600 seats and a commodious stage and the actors' dressing rooms adjoin this stage.

The name of Benjamin Chaires' plantation was Verdura and it was located about 12 miles southeast of downtown Tallahassee. It did not have columns on the front, but there was a row of columns on the east and west sides of the house. Verdura's mansion was a 3 story brick home with 15 rooms. This house burned in the 1880s.

Horizontal timber slat panels conceal the underfloor area. Access is achieved through three large sliding doors on each side with an additional door on the interior Showground end. The original decorative facade with parapet end, providing street access (Ingham Road) has been modified to a flat sheeted wall. Internally there is a central row of columns supporting timber trusses and a box gutter.

This is further complemented by the transparent shopfront with subtle framing, open plan interior supported by a single row of columns, and the emphasis on natural lighting. The main shopfront, with its bold composition of slanted display windows, curvilinear concrete pond and large angled awning, makes an important contribution to the streetscape, standing out dramatically from the adjacent commercial buildings.

The main building is three stories consisting of a central pavilion marked by a double row of columns, Tuscan Order on the ground floor and Ionic on the upper level, a pediment containing the coat of arms (later added by Trezza), and topped with five statues of mythical Greek gods. The statues in the garden are attributed to the sculptor Lorenzo Muttoni.

Due to the muddy terrain, they were confined to the paved road. Because of that, the Iranians assembled their forces in a long row of columns. The first three columns consisted of armored brigades, and the final column was the infantry support. The infantry was thus behind the tanks, and the entire flank of this long row of column was completely exposed.

The Apadana palace of the city of Persepolis was built in the first half of the 6th century BC. The palace has open columned verandas on three sides which is a unique feature among all palace buildings at Persepolis. In Ancient Greek architecture, the peristyle was a continuous porch with a row of columns around the outside of building or a courtyard.

The temple of the Sun Mithras in Hatra resembles at first glance a mix of a Mesopotamian and Greco-Roman temple. The kind of juxtaposition of certain classical structures however is Parthian. A Cella standing at a podium is surrounded on three sides by two rows of columns. The front is adorned by a staircase, which is flanked on the sides of the outer row of columns.

Bd. I. Zabern, Mainz 1994, p. 141-143. The arrangement of the pseudodipteros, omitting the interior row of columns while maintaining a peristasis with the width of two column distances, produces a massively broadened portico, comparable to the contemporaneous hall architecture. The grid of the temple of Magnesia was based on a square. The peristasis was surrounded by 8 × 15 columns or 7 × 14 intercolumniations, i.e.

327 Two Ionic columns at the front are framed by two anta walls as in a Greek distyle in antis layout. It seems that the temple had an outside wall with windows or doorways, in a layout similar to that of a Greek encircling row of columns (peripteral design).Rowland, p.492 It has been called "the most Hellenic structure yet found on Indian soil".

Inside the church, the arcades are carried on quatrefoil columns. Between the chancel and the chapels on one side, and the organ loft on the other side, the arcades are carried on a double row of columns. Around the apse is an arcade containing lancet windows. In the church is a three-manual pipe organ built originally by Henry Willis and Sons and Lewis and Company.

823 facade columns of white steel line the Luxembourg Philharmonie. Architect Christian de Portzamparc's initial idea was to mark the entrance into the world of music through a natural filter. This idea took the form of 823 facade columns made of white steel, arranged in three or four rows. The interior row of columns containing technical facilities, the second supporting the windows, and the third being of a static nature.

The fluted columns have a palmette ring of cast zinc instead of capitals. At the front entrance the row of columns is broken by two wide pillars of sandstone. On them are Bible verses carved into the stone: the Gospel of John verses 1-16 and 1 Corinthians chapter 13. Light enters the church's interior through the round arched window in the clerestory and the rose window on the western gable.

The whole pronaos may be omitted in this case or just leave the antae without columns. An amphiprostylos or amphiprostyle repeats the same column setting at the back. In contrast, the term peripteros or peripteral designates a temple surrounded by ptera (colonnades) on all four sides, each usually formed by a single row of columns. This produces an unobstructed surrounding portico, the peristasis, on all four sides of the temple.

The arches are supported by cylindrical columns. Above each arch is a large circular inscribed stucco decoration, and above each column is a large inscribed stucco decoration that mirrors the shape of arch and columns. Behind the row of columns is a walkway, and then a wall with entrances the shape and size of the arches and columns. The marble paved central courtyard was added between 1009 and 1010.

The second courtyard, up the main stairway of the first level courtyard, houses the Diwan-i-Aam or the Public Audience Hall. Built with a double row of columns, the Diwan-i-Aam is a raised platform with 27 colonnades, each of which is mounted with an elephant-shaped capital, with galleries above it. As the name suggests, the Raja (King) held audience here to hear and receive petitions from the public.

The temple of Saturn was located at the base of the Capitoline Hill, according to a tradition recorded by VarroVarro Lingua Latina V 52. formerly known as Saturnius Mons, and a row of columns from the last rebuilding of the temple still stands.Mueller, "Saturn," p. 222. The temple was consecrated in 497 BC but the area Saturni was built by king Tullus Hostilius as confirmed by archaeological studies conducted by E. Gjerstad.

Plan of the Temple of Hera. (A: Peristyle; B: Pronaos; C: Naos; D: Opisthodomos; E: Base of Statue of Hermes). The Heraion at Olympia, located in the north of the sacred precinct, the Altis, is one of the earliest Doric temples in Greece, and the oldest peripteral temple at that site, having a single row of columns on all sides. The location may have previously been the place of worship of an older cult.

It is the only subway station in Nizhny Novgorod that has two platforms on the outside of the tracks. Between the tracks there is a row of columns, above which the name of the station is mounted. The platforms and walls are covered with dark gray and white marble, and the ceiling is decorated with metal and plastic. The station hall is located above the tracks and is connected to the street by stairs.

Michelozzo retained the windowless tower, moat and drawbridge, and added a perimeter walkway with corbels. There is a central courtyard with a well. The villa remained essentially a fortified house, but various features indicate its secondary purpose as a place of pleasure, including an early walled garden, built on two terraces beside the villa. The upper terrace has a stone pergola, with a double row of columns; a similar pergola has disappeared from the lower terrace.

In 1804 a farmer found artifacts from the Roman era while working on his fields. These finds, however, were not further investigated. More than a century later in 1924, during the excavation work for the new machine factory Dingler, the remains of an extended Roman villa were discovered which probably used to be the summer residence of a wealthy Roman. The reconstruction showed that the two story villa had a representative row of columns and a large portico.

Temple of Aphaia, Aegina: The interior of the naos was embellished with two tiers of Doric columns. The cult statue was often oriented towards an altar, placed axially in front of the temple. To preserve this connection, the single row of columns often found along the central axis of the naos in early temples was replaced by two separate rows towards the sides. The central one of the three aisles thereby created was often emphasised as the main one.

A Hellenistic and Roman form of this shape is the pseudoperipteros, where the side columns of the peristasis are indicated only by engaged columns or pilasters directly attached to the external naos walls. A dipteros or dipteral is equipped with a double colonnade on all four sides, sometimes with further rows of columns at the front and back. A pseudodipteros has engaged columns in the inner row of columns at the sides. Circular temples form a special type.

The shape of the square was also different: the temple was constructed as a large apsidal hall that opened up like an exedra at the bottom of the portico. A row of columns distinguished the portico from the temple. The central area was not paved like other fora and served as a garden, with pools and pedestals for statues, so that it was similar to an open-air museum. The monument was built to celebrate the conquest of Jerusalem.

The great hall, located on the first floor, occupies the entire floor area of the building and is reached by a separate staircase. Often, the hall is divided by a row of columns into two aisles, but can also be vaulted. Multi-storey palas buildings may also contain several superimposed halls. The great hall was used mainly in the summer, because it was difficult to heat, whilst in winter the cabinet (Kemenate) was the preferred living room.

According to Vitruvius,Vitruvius, De architectura, Book IV, Chapter 7 the Etruscan type of temples (as, for example, at Portonaccio near Veio) had three cellae, side by side, conjoined by a double row of columns on the facade. This is an entirely new setup with respect to the other types of constructions found in Etruria and the Tyrrhenian side of Italy, which have one cell with or without columns, as seen in Greece and the Orient.

The village was badly damaged in the Galilee earthquake of 1837. The local church and a row of columns and other standing remains of the ancient synagogue were thrown to the ground."The earthquake of 1 January 1837 in Southern Lebanon and Northern Palestine" by N. N. Ambraseys, in Annali di Geofisica, August 1997, p.933, The village was captured October 31, 1948 by the Israel Defense Forces during operation Hiram and the villagers forced to leave.

An anta behind a row of columns at the Erectheion, a prostyle temple, Athens (built between 421 and 406 BCE). A decorative capital can be seen at the top. In contrast to columns or pillars, antae are directly connected with the walls of a temple. They owe their origin to the vertical posts of timber employed in the early, more primitive palaces or temples of Greece, as at Tiryns and in the Temple of Hera at Olympia.

The result can still be seen today. The lower level, in a granite bugnato ashlar, has a terrace with a three-arched porch while the upper level is decorated with a double row of columns crowned by an entablature. Finally the attic, with pilasters rather than columns, is surmounted by a series of torch-bearing vases. Its central pediment has a stucco bas-relief by Giuseppe Franchi representing the allegory of the chariot of the sun chased by the night.

The temple facade is in good condition although the roof of the temple is missing. The range structures are unequal in size and each contains a single long room atop a low platform. The facade of each of these rooms once possessed a row of columns although only stumps remain in situ. This temple- palace is K'iche' in style and has been identified with the Nija'ib' lineage of the K'iche', being very similar to the Temple of Awilix at Q'umarkaj.

Details of a column and an apse inside the church. The church, with a trapezoidal plan, had a nave and two aisles separated by two rows of tuff columns, with very low capitals decorated with floral forms and animals, each one different from the other. Each row of columns was surmounted by five pointed arches of Catalan and Italic style (called “a terzo punto”). Today from the original structure there are only a series of columns on the right nave academia.

The penthouse plantroom is accessed via a narrow timber stair from the lift foyer below. The Bolsover Street wing is planned to have a central corridor, which is delineated by a row of columns to either side, with partitions dividing the office space. The central corridor has a lower ceiling housing a ventilation system with registers to the adjacent office space. Sections of the original partitioning system survive, with tracks for the location of partitions evident in the ceilings and walls.

As Bohde states "Titian merely connects the place of the Annunciation with the interior of San Salvador through the red and white tiled floor and the row of columns. But these features mainly serve to unify the pictorial and the real space, and are not significantly Venetian." The overwhelming size of the angel compared to the Virgin and the brush strokes being more expressive shows the theme of incarnation. Titian’s way of depicting the Virgin showing the flesh is more full in her bosom.

Today it is thought more likely to be a strongly Hellenised Punic cult, perhaps to Demeter or Asclepius-Eshmun. Temple C Plan of Temple C Temple C is the oldest in this area, dating from 550 BC. In 1925-7 the fourteen of the north side's seventeen columns were re-erected, along with part of the entablature. It had a peristyle (24 x 63.7 metres) of 6 x 17 columns (8.62 metres high). The entrance is reached by eight steps and consists of a portico with a second row of columns and then the pronaos.

It is not clear what the purpose of these screens, which are unique among Greek temples, was. Some think they were intended to protect votive gifts or to prevent particular rites (Dionysian Mysteries?) being seen by the uninitiated. Inside, there is a portico containing a second row of columns, a pronaos, a naos, and an adyton in single long, narrow structure (an archaic characteristic). On the east side, two late archaic metopes (dated to 500 BC) were found in excavations in 1823, which depict Athena and Dionysus in the process of killing two giants.

The dignity of the central aisle of the naos could be underlined by the use of special elements of design. For example, the oldest known Corinthian capitals are from the naoi of Doric temples. The impressiveness of the internal aisle could be emphasised further by having a third row of columns along the back, as is the case at the Parthenon and at the temple of Zeus in Nemea. The Parthenon naos, also had another impressive feature, namely two tiers of columns atop each other, as did the temple of Aphaia on Aegina.

A rear view of the church shows a congeries of various extensions over the centuries, mostly of the Gothic period. The interior follows the standard plan of a nave and two side aisles, each one divided from it by a row of columns, from which arches support a tall wooden ceiling. The floor of the nave is in the same red and white stone as the façade. A major restoration, aiming to return the church to its original Romanesque appearance by removing accretions over the centuries, was completed in 1972.

175Note that Rhode, 1979, p. 6 writes that the register that Hütteroth and Abdulfattah studied was not from 1595/6, but from 1548/9 Kafr Bir'im was badly damaged in the Galilee earthquake of 1837. The local church and a row of columns from the ancient synagogue collapsed. In 1838 it was noted as a Maronite village in the Safad region.Robinson and Smith, 1841, vol 3, 2nd appendix, p. 134 In 1852 it was estimated that the village had a population of 160 males, all Maronites and Melkites.

The sheds were often built into the hillside so the wall would benefit from contact with damp earth that would maintain the moisture levels in the shed required by cotton weaving. The shed would be modular using a 3m by 6m bay, the beams of the roof being supported by cast iron columns. The ground to beam clearance was 3.5m and the ground to ridge height was 4.6m. Later sheds used a longitudinal beam under the gutter beam eliminating the need for a row of columns, creating a 6m by 6m lattice.

The ancient Macellum of Pozzuoli was a market building, erroneously identified as a Serapeum when a statue of Serapis was discovered. The Serapeum of Ostia Antica was inaugurated in 127 CE and dedicated to the syncretic cult of Jupiter Serapis. It is a typical Roman sanctuary, on a raised platform and with a row of columns at the entrance, where a mosaic representing Apis in a typically Egyptian manner can still be seen. From this temple likely came the statue that Bryaxis copied for the Serapeum in Alexandria.

The station's massive chandeliers, flanked by the ceiling's mosaic pieces From an engineering standpoint, Zoloti Vorota was built as a deep column station, at a depth of underground. It consists of three distinct vaulted halls, featuring one central hall, and two side platform halls, each separated by a row of columns. The central hall is connected to the only above-ground vestibule through two escalator tunnels, separated by an underground vestibule, which was needed because of the depth at which the station is located. Its design and formation is nearly similar to the Maidan Nezalezhnosti station of the system's Obolonsko–Teremkivska Line.

Proposed as "South Hall" by the university's former president Nicholas Murray Butler as expansion plans for Low Memorial Library stalled, the new library was funded by Edward Harkness, benefactor of Yale's residential college system, and designed by his favorite architect, James Gamble Rogers. It was completed in 1934 and renamed for Butler in 1946. The library design is neo-classical in style. Its facade features a row of columns in the Ionic order above which are inscribed the names of great writers, philosophers, and thinkers, most of whom are read by students engaged in the Core Curriculum of Columbia College.

Komendantsky Prospekt station of the Saint Petersburg Metro The deep column station is a type of subway station, consisting of a central hall with two side halls, connected by ring-like passages between a row of columns. Depending on the type of station, the rings transmit load to the columns either by "wedged arches" or through purlins, forming a "column-purlin complex". The fundamental advantage of the column station is the significantly greater connection between the halls, compared with a pylon station. The first deep column station in the world is Mayakovskaya, opened in 1938 in Moscow.

This transfer area is a plaza with a pedestrian walkway that is sheltered by a massive concrete canopy which arches out of a central row of columns. The canopy is perforated with circular openings in certain places for a whimsical effect of lightness, breaking up its shadows on sunny days. Where the circular holes are cut deeper through the canopy, they are clad with stainless steel inside and contain artwork by designer and environmentalist Aniko Meszaros, as part of her installation entitled, Roots. Meszaros' artwork in this part of the station consists of intricate stainless steel screens akin to filigree with an organic, root-like design.

The first was the Temple of Friendship, a circular Dorian temple with sixteen columns supporting a low dome, containing a statue of Catherine the Great. It was placed at a bend of the Slavyanka River, below the future palace, and was surrounded by silver poplars and transplanted Siberian pines. The second was the Apollo Colonnade, a double row of columns with an entablature, forming a setting for a reproduction of the Belvedere Apollo. It was placed at the entrance of the park, and it was made of porous limestone with a coarse finish; the surfaces suggest that they had been aged by centuries of weather.

The southernmost row of columns was incorporated into the southern wall of the Temple mount, while the northern side opened onto the plaza in the middle of which stood the Temple. From the outside, the southern wall was distinguished from the retaining wall of the platform by a series of pilasters running along the length of the superstructure. The main entry to the Stoa from the city was via a monumental staircase which led up from the Tyropoeon Valley and then across Robinson's Arch, passing over the street and shops below. The Royal Stoa was built upon the artificially raised portion of the Temple Mount platform.

Syria's antiquities chief Maamoun Abdulkarim later stated that although there was an explosion within the temple's perimeter, "the basic structure is still standing". However, these reports were proved to be incorrect. On August 31, 2015 the United Nations confirmed the temple's destruction after reviewing satellite imagery, "We can confirm destruction of the main building of the Temple of Bel as well as a row of columns in its immediate vicinity" reported by the United Nations Institute for Training and Research (UNITAR). The BBC issued a video report showing the satellite images and the destruction described by Einar Bjorgo, manager of UN Satellite Imaging (UNOSAT UNITAR).

A distinctive landmark in the Helsinki cityscape, with its tall, green dome surrounded by four smaller domes, the building is in the neoclassical style. It was designed by Carl Ludvig Engel as the climax of his Senate Square layout: it is surrounded by other, smaller buildings designed by him. The church's plan is a Greek cross (a square centre and four equilateral arms), symmetrical in each of the four cardinal directions, with each arm's façade featuring a colonnade and pediment. Engel originally intended to place a further row of columns on the western end to mark the main entrance opposite the eastern altar, but this was never built.

The facades were firmly composed and emphasized by the rhythmical row of columns with Corinthian capitols, doubled on the cornered projections. These columns take up three-storey height and bear a massive architrave flowing along all the facades and significantly stick out from the plane. Decorative structures in full plastic representing warriors and scenes from the warrior life are set up on the cornered projections above the architraved cornice. As a rule, the groups are two-membered and they represent: the fight of warriors, the warrior and the wounded, who kills the woman and himself, and the archer and the warrior with a sword.

The light hoods create a series of shadows on the exterior wall that are reminiscent of a row of columns, their vertical lines adding to the impression of height. The main entrance to the building is not visible to people passing by on the street. Light towers in each of the four corners of the sanctuary rise above the building's outer walls, making the shape of the sanctuary easy to visualize from outside. The impression that Kahn created of the sanctuary imbedded within the larger building is similar to the "box within a box" approach he used in several other buildings, notably the Phillips Exeter Academy Library.

He formed covered corridors along the edges of the former battlements, with an arch on an open row of columns, above which he opened an accessible courtyard with ornate buildings (bastions) with conical roofs. Currently, this area serves as a lookout. In the north, a multi-storey, overlapping tower rises, the main tower, below which are the statues of Elder and Álmos leaders, a lion holding a tassel shield, and a mythological creature with an open mouth, a dragon carved in the same style as the two founding leaders. In the narrow area in front of the Matthias Church sanctuary, there is an ornate parapet that connects the two corridors of the Fisherman's Bastion, allowing a view from below.

14th Street station of the New York City Subway Avtovo station of the Saint Petersburg Metro The shallow column station is a type of construction of subway stations, with the distinguishing feature being an abundance of supplementary supports for the underground cavity. Most designs employ metal columns or concrete and steel columns arranged in lines parallel to the long axis of the station. Stations can be double-span with a single row of columns, triple-span with two rows of columns, or multi-span. The typical shallow column station in Russia is triple-span, assembled from concrete and steel, and is from 102 to 164 metres in length with a column spacing of 4-6 m.

After that, the platform was widened significantly, so that trains headed for Jungfernheide now stop at platforms C and B. In contrast to the other two suburban platforms, the platform canopy is supported by a row of columns, as is common for Berlin stations built at the turn of the century. The platform has barrier-free access via two lifts. The construction of an additional access at the southern end of the platform towards Sophie-Charlotten-Straße to be completed in 2020 is planned. Platform D was on the mainline tracks of the line and served as a terminal station for trains running from the Berlin- Blankenheim railway (Wetzlar Railway) to the Ringbahn.

The wings contain ten stories, are pierced by round loop-holes for the admission of light, and probably served as chambers or dormitories for the priests and servitors of the temple. From the jambs of the door project two blocks of stone, which were intended, as Ddnon supposes, to support the heads of two colossal figures. This propylaeon leads into a large square, surrounded by a colonnade roofed with squared granite, and on the opposite side is a pronaos or portico, in height, and having a triple row of columns, six in each row, with variously and gracefully foliaged capitals. The temple is wide, and long from the entrance to the opposite end.

The third row of columns, painted white and resting on square, black-tiled piers to account for the difference in height between the track bed and the platforms, runs along the main axis of the station and separates the two tracks. Passenger cross over a central bridge that was added later. Old vestibule For entrances and exists as well as transfers to the close by station Biblioteka Imeni Lenina, a temporary vestibule was built (architects P. Faidysh and S. Lavrov), and was situated on the corner of Vozdvizhenka and Mokhovaya streets (currently an entrance to an understreet subway is located there). A more permanent vestibule was planned to be included inside the massive building of the Lenin library.

From there, visitors walked some to an immense propylon (or monumental gateway) in front of the temple, supported by a row of columns standing high. The temenos was built on top of the River Selinus, presumably because the person who commissioned the complex wished it to be located in the city centre rather than in an outlying district. As the city was already substantially built up, the river bed offered an otherwise unused location for the temple complex and reduced the number of properties that would have to be demolished to make way for it. The river was channelled into two tunnels passing diagonally for a distance of about , northwest to southeast, under the temenos and temple.

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.

The interior consisted of a prostyle pronaos with four columns, with two deep antae walls ending in pilasters and three doors leading to the large naos. The naos was very large and divided into three aisles – the middle one was probably open to the air (hypaethros). There were two rows of ten slender columns which supported a second row of columns (the gallery) and two lateral staircases which led to the roofspace. At the back of the central aisle was an adyton, separated from the walls of the naos and entirely contained within it. Inside the adyton, the torso of a wounded or dying giant was found as well as the very important inscription known as the “Great Table of Selinus” (see below).

They had the tasks of keeping the documents of the village, collecting taxes and organise festivals; a large number of scales and coins, sometimes in gold were discovered. A cameo depicting a woman, perhaps Venus, holding a branch was also found. From the excavation journal and the detailed plan of La Vega, the villa was composed of three parts: the service area around the small peristyle with a statue- fountain of a Faun lying on a stone, which gave the villa its name and which seems out of place; to the west is a symmetrical sector with reception and living rooms decorated with paintings and mosaic floors; to the south is a triple portico with double row of columns, of which the lower side along the panoramic edge of about 46 m was excavated. The 18th c.

House of Augustus, south wall of the "Large oecus" with frescoes in the Pompeian Style, Palatine Hill, Rome Oecus is the Latinized form of Greek oikos, used by Vitruvius for the principal hall or salon in a Roman house, which was used occasionally as a triclinium for banquets. When of great size it became necessary to support its ceiling with columns; thus, according to Vitruvius, the tetrastyle oecus had four columns; in the Corinthian oecus there was a row of columns on each side, virtually therefore dividing the room into nave and aisles, the former being covered over with a barrel vault. The ancient Egyptian oecus had a similar plan, but the aisles were of less height, so that clerestory windows were introduced to light the room, which, as Vitruvius states, presents more the appearance of a basilica than of a triclinium.

Originally the station was not included in the plans for the first stage due to its closeness to the Biblioteka Imeni Lenina station. When a change to the plans was introduced with a new station it was decided not to augment the design of the planned large tunnel with parallel tracks separated by a row of columns, but to modify it by increasing its height and building platforms on the sides in what is known as a Parisian Style. Construction began in July 1934, and immediately problems were encountered. Under the street was situated a massive sewage pipe consisting of fragile ceramic, and with an outflow of two million buckets. In such conditions, even a slight vibration in the soil would have caused a serious accident, especially since the proposed subway tunnels were only 1.5–2 metres away from it.

Acropolis of Selinus: Rear of Temples A and O in the foreground and row of columns of Temple C in the background The acropolis is a chalk massif with a cliff face falling into the sea in the south, while the north end narrows to 140 metres wide. The settlement in the form of a massive trapezoid, extended to the north with a large retaining wall in terraces (about eleven metres high) and was surrounded by a wall (repeatedly restored and modified) with an exterior of squared stone blocks and an interior of rough stone (emplecton). It had five towers and four gates. To the north, the acropolis was fortified by a counter wall and towers from the beginning of the fourth century BC. At the entrance to the acropolis is the so-called Tower of Pollux, constructed in the sixteenth century to deter the Barbary pirates, atop the remains of an ancient tower or lighthouse.

The Pont Neuf in the 1660s As a result of the Fronde, Louis XIV had a profound lifelong distrust of the Parisians. He moved his Paris residence from the Palais-Royal to the more secure Louvre: then, in 1671, he moved the royal residence out of the city to Versailles, and came into Paris as seldom as possible. While he disliked the Parisians, Louis XIV wanted to give Paris a monumental grandeur that would make it the successor to Ancient Rome. The king named Jean-Baptiste Colbert as his new Superintendent of Buildings, and Colbert began an ambitious building program. To make his intention clear Louis XIV organised a carrousel festival in the courtyard of the Tuileries in January 1661, in which he appeared, on horseback, in the costume of a Roman emperor, followed by the nobility of Paris. Louis completed the Cour Carrée of the Louvre and built a majestic row of columns along its east façade (1670).

To make his intention clear, Louis XIV organised a festival in the carrousel of the Tuileries in January 1661, in which he appeared, on horseback, in the costume of a Roman Emperor, followed by the nobility of Paris. Louis XIV completed the Cour carrée of the Louvre and built a majestic row of columns along its east façade (1670). Inside the Louvre, his architect Louis Le Vau and his decorator Charles Le Brun created the Gallery of Apollo, the ceiling of which featured an allegoric figure of the young king steering the chariot of the sun across the sky. He enlarged the Tuileries Palace with a new north pavilion, and had André Le Nôtre, the royal gardener, remodel the gardens of the Tuileries. Across the Seine from the Louvre, Louis XIV built the Collège des Quatre-Nations (College of the Four Nations) (1662–1672), an ensemble of four baroque palaces and a domed church, to house students coming to Paris from four provinces recently attached to France (today it is the Institut de France).