A SOCLE is the molded base at the bottom of a column, urn or statue, or as the foundation for a wall.
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Ces deux dispositions, qui existent sous une forme ou une autre depuis des siècles, participent au socle idéologique de la société musulmane, encore très rurale dans l'ensemble.
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C'est donc M. Essebsi qui a ouvert une brèche énorme dans le socle du conservatisme musulman, et a créé un antécédent unique, validant divers mouvements féministes et intellectuels.
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Minimal submodules can be used to define the socle of a module.
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House of the Vetti interior wall sections Bust on a round socle Statue with inscription on what is called the socle in French; more likely the plinth in English. In architecture, a socle is a short plinth used to support a pedestal, sculpture, or column. In English, the term tends to be most used for the bases for rather small sculptures, with plinth or pedestal preferred for larger examples. This is not the case in French.
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An elevator inside the column takes visitors up to a viewing platform at the top (just below the socle).
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The socle of the apse contains frescos depicting beasts and threatening imaginary animals. Above this, the twelve apostles are depicting in pairs. The ceiling of the apse has a fresco showing Christ in Majesty. The socle of the chancel arch contains to the left and right depictions of Atlas, and higher up a bird- woman and a capricorn.
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In the context of group theory, the socle of a group G, denoted soc(G), is the subgroup generated by the minimal normal subgroups of G. It can happen that a group has no minimal non-trivial normal subgroup (that is, every non-trivial normal subgroup properly contains another such subgroup) and in that case the socle is defined to be the subgroup generated by the identity. The socle is a direct product of minimal normal subgroups. As an example, consider the cyclic group Z12 with generator u, which has two minimal normal subgroups, one generated by u4 (which gives a normal subgroup with 3 elements) and the other by u6 (which gives a normal subgroup with 2 elements). Thus the socle of Z12 is the group generated by u4 and u6, which is just the group generated by u2.
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The socle is a characteristic subgroup, and hence a normal subgroup. It is not necessarily transitively normal, however. If a group G is a finite solvable group, then the socle can be expressed as a product of elementary abelian p-groups. Thus, in this case, it is just a product of copies of Z/pZ for various p, where the same p may occur multiple times in the product.
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Pinax on West Wall of the Tablinum in the House of the Prince of Naples Supports for stucco or wooden door panels were found on the south wall. The floor is paved with cocciopesto with travertine and lava skirts. The black socle and white main zone is divided into panels. Socle emblems include dancing swans, fluttering birds, and light and dark green leafy perennials and simply drawn lotus blossoms.
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Fames sculptures on the socle counterweights. Nymphs of the Neva relief. Twilight view, looking toward the dôme of Les Invalides Numerous sculptors provided the sculptures that feature prominently on the bridge.
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The structure is built of white Pentelic marble on a socle high, made of porous marble and veneered with slabs of Hymettian marble. The north side of Philopappos’ monument bears lavish architectural decorations.
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Constructed of granite blocks/slabs, simple guardrails flank either side of the platform. At the midpoint of the bridge is a socle with stone cross, where a wooden image of a crucified Christ is situated.
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A finite 2-transitive group has a socle that is either a vector space over a finite field or a non-abelian primitive simple group; groups of the latter kind are almost simple groups and described elsewhere. This article provides a complete list of the finite 2-transitive groups whose socle is elementary abelian. Let p be a prime, and G a subgroup of the general linear group GL(d,p) acting transitively on the nonzero vectors of the d-dimensional vector space (F_p)^d over the finite fieldF_p with p elements.
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Porticus looking into the Exedra at The House of the Prince of Naples, Pompeii, Italy 2nd century BCE - 1st century CE Pinax of Birds and Fruit The floor pavement is coarse cocciopesto. The black socle, divided by white lines, is accented by simple diamonds enclosing four-petaled flowers. The main and upper zones are white framed by red stripes and separated from the socle with an ochre stripe. In the center of the north wall is a pilaster strip enclosing an ocher-shaded candelabra crowned by a frontal sphinx in dark red and blue-green.
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When a projective module is lifted, the associated character vanishes on all elements of order divisible by p, and (with consistent choice of roots of unity), agrees with the Brauer character of the original characteristic p module on p-regular elements. The (usual character-ring) inner product of the Brauer character of a projective indecomposable with any other Brauer character can thus be defined: this is 0 if the second Brauer character is that of the socle of a non-isomorphic projective indecomposable, and 1 if the second Brauer character is that of its own socle. The multiplicity of an ordinary irreducible character in the character of the lift of a projective indecomposable is equal to the number of occurrences of the Brauer character of the socle of the projective indecomposable when the restriction of the ordinary character to p-regular elements is expressed as a sum of irreducible Brauer characters.
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It is more likely that the statue is situated in the current way simply to have Columbus point out to sea underscoring his achievements in naval exploration. The statue is atop a socle, on which the word "Tierra" (land) is inscribed.
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In mathematics, a Loewy ring or semi-Artinian ring is a ring in which every non-zero module has a non-zero socle, or equivalently if the Loewy length of every module is defined. The concepts are named after Alfred Loewy.
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The geological features at the dam site were evaluated for possibilities of displacement. The treatment measures implemented to address this condition involved excavation of a trench of width and depth below the toe slab which is meant to function as a concrete "socle". A grout curtain was also created through the "lineament" (fault line) and a grouting gallery was provided for the purpose that covered the downstream part of the embankment up to the toe-slab area near the lineament. Both the "socle" and the toe-slab incorporate movement joints consisting of compressible materials and a PVC water stop.
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The trophy is made of silver and has a football mounted on a socle with two large handles on each side of the socle. The trophy was designed by Anja Nibbler Kothe and was inspired by a trophy that the Sweden national football team had been awarded for winning the gold medal at the 1948 Summer Olympics in London, United Kingdom. The trophy is named after former UEFA president Lennart Johansson, who was in office between 1990 and 2007. The thought behind the trophy was to connect the biggest trophy a Swedish club could win with the biggest Swedish football leader.
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The remains are visible in the second courtyard of the Topkapı complex. The column's own socle, pedestal, and base are lost. The statue too may be lost, or it may be the bronze statue now known as the Colossus of Barletta in Italy.
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Both the suspended vault and the open regions (a pattern which repeats the steps of the pylons) are faced with white and brown aluminium boards respectively. On the platform halls, the brown boards extend right up to the upper socle regions which are replaced with white ones that continue the curvature right up to the socle region above the tracks (in place of a traditional marble wall). Lighting is provided by Sodium lamps hidden in the ends of the ceiling and by an additional long cross shaped elements that run the length of the vault in the central hall. Whilst the floor retains the grey granite.
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In mathematics, in the theory of modules, the radical of a module is a component in the theory of structure and classification. It is a generalization of the Jacobson radical for rings. In many ways, it is the dual notion to that of the socle soc(M) of M.
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The Nakipari church is built of limestone blocks. It is a hall church, set in a rectangular plan, with an inscribed semicircular apse on the east. The church is based on a single-step socle. Its walls terminate with simple profiled cornices made of small hewn stone slabs.
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A first project for a commemorative column, one that would commemorate the Fall of the Bastille, had been envisaged in 1792, and a foundation stone was laid, 14 July 1792; but the project never got further than that. The circular basin in which its socle stands was realised during the Empire as part of the Elephant of the Bastille, a fountain with an elephant in its centre. The elephant was completed to designs by Percier and Fontaine in semi-permanent stucco, but the permanent bronze sculpture was never commissioned due to pinched finances in the latter days of the Empire. Its low base has been retained to support the socle of the column.
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Reconstructed entablature and pediment of the Temple of Aphaia I in the on-site museum. Ohly detected a (stone socle and mudbrick upper level) peribolos wall enclosing an area of c. 40 by 45 m dating to this phase. This peribolos was not aligned to the axis of the temple.
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The façades are scarcely decorated in stonework. The building is based on a two-step socle and crowned by a pronounced cornice. The interior is adorned with a series of frescoes, but they are heavily damaged. The style of the paintings is a local take on the late Byzantine Palaeologan art.
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The galleries were thus reshaped into Neo-Baroque and the church furnished with electric light. An exterior restoration in 1910 gave the church a new copper roof and a sandstone socle. A new restoration in 1932–37 resulted in the present rather bare interior, with no changes since except a minor restoration in 1969.
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Several decorated Romanesque baptismal fonts, such as this by Hegvald in Stånga Church, have been preserved on Gotland. The first stone churches on Gotland were built in the first half of the 12th century. They were simple Romanesque churches. They were constructed without a socle or base, and had undecorated, narrow round arched portals.
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Mand Dewal Bhand Dewal temple, a Jain temple dated to the late eleventh century, is in the Mahakosala area of Arang. It is built in the Bhumija style of architecture. The plinth of this temple has detailed ornamentation. It has a socle plinth that supports a pedestal, and two rows of sculptures on the wall.
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82 The mausoleum was two stories. On the ground level there were three steps supporting the base mouldings. Each plain socle was surmounted by torus, cavetto and Lesbian cyma. Ten courses of large neatly cut ashlars, 69–88 cm high, which constituted the facing of the podium, made for a total height of 11.37 m.
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Roofs have jamb walls, small slope and domes. Façade which is facing the street is made in stone slabs in socle zone and dressed in artificial stone, while the courtyard façade is plastered. Structural system has vaults and marble columns. Main staircases are three-armed, stone or marble, while side staircases are spiral and iron.
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It has old style vedibandha (the lowest socle or foundation block) and almost plain mandovara (middle of the outer wall of shrine). The shikhara (spire) and sukhasana (assembly seats) are also in ruins. The mandapa (roof above the assembly hall) is now restored with its Bhadraka style pillars with their lintels are still surviving. The temple once housed Saptamatrikas.
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The fourth phase at Vani runs from c. 250 BC to c. 47 BC. This was the period of relative decline in central Colchis: many settlements disappeared as did rich burials. The Vani site saw the erection of a strong circuit wall, with towers and a heavily defended gate, built of mudbrick on a stone socle.
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Such burial vaults have a low and smooth arch. Underground part consists of socle built of a faced stone, the main volume of the tower and a cone-shaped or pyramidal ceiling. The inner part of the towers has the high, frequently many sided space covered with cupola. Architectural school of Nakhchivan was based on the scientific count techniques.
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Dimension stones wrap around the portal. There is a store on the bottom floor. In the corner towards Pelikansgränd (marked as I on the map) lies an older plastered house with a painted socle. The current old-fashioned facade is primarily a work from 1967 when the house was under renovation, even though the portal is older.
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Ground plan is created by crosswise fields and deep five sided ending. The presbytery is located on the same socle as the nave. It is supported by eight load-bearing pillars similar to more tiny rests supporting the nave. The windows in the presbytery are narrower than the windows in the nave and they fill only two sectioned tracery.
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Ground plan of the tower is squared and it connects to the nave in western field of the north side. The tower stands on the same socle as the rest of the church. Its pointed masonry is plastered and on the individual groins we can spot revealed cubiform reinforce. The construction is divided into two parts.
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In Yemeni households, the kitchen or bake-room was built adjacent to an open- air courtyard and furnished with a hearth (maḥall et-tanâwir) which was freestanding, consisting of a socle with mud-bricks or masonry stones arranged in a bed of lime mortar, usually in length, to in height, and in breadth. Built into this socle were three separate ovens (tannûr, pl. tanâwir). In the early 20th-century, German ethnographer Carl Rathjens described the ovens that he had seen in the Old City of Sana'a, and which were similarly constructed by Jews and Arabs alike: > The product of Jewish potters, they (i.e. the clay ovens) are made of burnt > clay and look like round pots without bottoms, being open at both ends and > having a semi-circular hole on one side.
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The base of the temples was described as Attic and was positioned on top of an socle. There were four courses of stones layered above a high, corniced stylobate, measuring , , and . Houses and a stable were built over the temple. Robinson also found a Corinthian frieze and judged the style of many of the blocks to be Corinthian in appearance.
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The building is supported by a steel frame, with socle (plinth) of dressed granite, marble columns and plastered brickwork. The roof is pitched, which distinguishes it from the multitude of later, taller buildings which had flat concrete roof construction. Timber-framed sliding sash windows provide elegant fenestration. The basement walls were constructed in brick and measure between 450mm and 500mm thick.
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Käthchen Schönkopf at the socle of the Leipzig Goethe monument Anna Katharina Schönkopf (22 August 1746 – 20 May 1810Die kleine Enzyklopädie. Volume 2\. Encyclios publishers, Zurich 1950, p. 559) was the daughter of the pewterer and wine merchant Christian Gottlieb Schönkopf ([ˈkrɪstiːaːn ˈgɔtliːp...]; 1716-1791Karl Robert Mandelkow and others: Goethes Briefe. 2. edition. Vol. 1: Briefe der Jahre 1764-1786.
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External walls were bricks deep, quite solid for a low building. External walls were revetted with special brick, the socle was revetted with ashlar, there were stucco mouldings in the vestibule and hall cornices. The solidity and reliability was felt in everything. At the railway side there were service rooms, gendarme rooms, main tsar's rooms and outlets to the platforms.
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The Loewy length and Loewy series were introduced by If M is a module, then define the Loewy series Mα for ordinals α by M0 = 0, Mα+1/Mα = socle M/Mα, Mα = ∪λ<α Mλ if α is a limit ordinal. The Loewy length of M is defined to be the smallest α with M = Mα, if it exists.
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The winner was a project designed by Tomasz Radziewicz. The design was selected via an Internet poll, and many different actions have been undertaken by fans to raise money for this monument. The 3.2 m tall statue was cast from bronze and it is situated on a small illuminated socle. The official unveiling ceremony took place on June 6, 2012.
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Generally, the structure of projective modules is difficult to determine. For the group algebra of a finite group, the (isomorphism types of) projective indecomposable modules are in a one-to- one correspondence with the (isomorphism types of) simple modules: the socle of each projective indecomposable is simple (and isomorphic to the top), and this affords the bijection, as non-isomorphic projective indecomposables have non-isomorphic socles. The multiplicity of a projective indecomposable module as a summand of the group algebra (viewed as the regular module) is the dimension of its socle (for large enough fields of characteristic zero, this recovers the fact that each simple module occurs with multiplicity equal to its dimension as a direct summand of the regular module). Each projective indecomposable module (and hence each projective module) in positive characteristic p may be lifted to a module in characteristic 0.
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The ribs are attached to the target pins. The whole arch is completed by crosswised ribs in a semi-circle and creates the impression of a spreading arch. The presbytery is connected with the nave by the stone pointed triumphal arch sitting on the profiled socle with reciprocally cut deeply channelled tracery. The floor of the presbytery and the nave are covered with plasters.
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The rise in ground level due to silt and debris had completely buried the socle by the time Giuseppe Vasi and Giambattista Piranesi made engravings and etchings of the column in the mid-18th century. The square foundation of brick (illustration, right) was not originally visible, the present level of the Forum not having been excavated down to its earlier Augustan paving until the 19th century.
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Outside the church are sculptures of Saint Frobert Saint Frobert Nominus.cef.fr. Retrieved 15 April 2013. and Saint André and in the interior, sculptures include a mise au tombeau in bas-relief, a depiction of Nicodemus, another of John the Baptist as well as a "Christ aux liens et socle" and a "Vierge de Pitié". There is also a triptych depicting the crucifixion and the resurrection.
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The cathedral had seventeen octagonal weight-bearing columns: eight on each side of the nave and one in the choir. They had a square socle. Each side was two ells (1.2 metres) wide. The original pulpit was of the German-Dutch type, and its intarsia and other carving work suggests that it had been crafted either in Lübeck or by some North Germans residing in Gothenburg.
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Amiran-Darejaniani, a fresco on the northern outer wall. The Archangel is a small and architecturally simple hall church, based on a two-step socle and built of neatly cut limestone blocks. The nave is divided up into two nearly equal bays by a pair of arched pilasters. The building can be entered from the west through a rectangular doorway with an internal arched tympanum.
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The church was originally dedicated to St Peter. The west end of the church and its round tower, both in limestone, were probably built in the 12th century at the same time as nearby Bollerup Castle. It is one of four surviving churches with round towers in Scania, the others being Blentarp, Hammarlunda and Hammarlöv. Unlike the church itself, the tower has a high socle.
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Local art critic Arthur Smolian anticipated that Seffner's work would turn the city into a "Bayreuth of Bach's art" and attract pilgrims. Of bronze, it measure in height and sits on a high socle. There is a music scroll in the statue's right hand and the left hand is raised from an organ manual. The statue debuted on 17 May 1908, coinciding with Leipzig's first Bach festival.
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Glaucus 8 is an estate consisting of three different houses that constitute the blocks facade towards Österlånggatan. In the Johannesgränd/Österlånggatan corner (marked as VII on the map) lies one of the blocks largest houses. The house is shaped like a horseshoe and has an underground courtyard facing Johannesgränd. The building has a rusticated and plastered facade, which was added in the late 18th century, and a painted socle.
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Detailed carvings on the wall Sculptures of Jain tirthankaras Ajitanatha, Neminath and Shreyanasanatha inside Bhand Dewal Bhand Dewal temple, a Jain temple dated to the late eleventh century, is in the Mahakosala area of Arang. It is built in the Bhumija style of architecture. The plinth of this temple has detailed ornamentation. It has a socle that supports a pedestal and two rows of sculptures on the wall.
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Structure was built in 1936-1938 based on design of Russian architect Ivan Fomin and partially - architect Pavel Abrosimov. The main half-circled facade of the building is opened towards Hrushevskyi Street. It is equally partitioned by tall columns (height ) of Corinthian order, capitals and bases of which are made out of cast iron. The lower stories of the building are faced with big uncut blocks of a Tulchyn labradorite, while socle and portals with a polished granite.
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The station is a deep-level pylon tri-vault design. The connotation of the location's former name, influenced the architectural theme of the station realisation of Lenin's ideas by architects L. Popov and V. Klokov and engineers Ye. Barsky and Yu. Murmotsev. The station walls are faced with white koelga marble, which are punctuated by metallic artworks depicting the hammer and sickle. Thick cubic shaped pylons are faced with dark red marble seliyeti, "rest" on a laboradorite socle.
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The tower parapet is deeply embattled. Inset behind the battlements is a four-sided pyramid stub spire. An angled buttress runs almost to the height of the first stage at the nave ends of the north and south sides--English Heritage states there are no tower buttresses. From the bases of the buttresses is a simple moulded socle (plinth) topped by a cill band--angled projection that allows water to flow from a building face-- running around the tower.
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The inner courtyard is divided into three smaller sections. In line with the architecture parlante approach, the extensive rusticated socle and mezzanine storey are evocative of a town gate flanked by towers and round-arched portals. The tall gables and the bays protruding from the rendered façade are features of more modern administrative architecture. Most of the building's Neo-Renaissance decorations were removed after the war, giving the building a more martial appearance and enhancing its authenticity.
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There is a unique most quickly ascending such series, the upper exponent-p central series S defined by: :S0(G) = 1 :Sn+1(G)/Sn(G) = Ω(Z(G/Sn(G))) where Ω(Z(H)) denotes the subgroup generated by (and equal to) the set of central elements of H of order dividing p. The first term, S1(G), is the subgroup generated by the minimal normal subgroups and so is equal to the socle of G. For this reason the upper exponent-p central series is sometimes known as the socle series or even the Loewy series, though the latter is usually used to indicate a descending series. Sometimes other refinements of the central series are useful, such as the Jennings series κ defined by: :κ1(G) = G, and :κn + 1(G) = [G, κn(G)] (κi(G))p, where i is the smallest integer larger than or equal to n/p. The Jennings series is named after S. A. Jennings who used the series to describe the Loewy series of the modular group ring of a p-group.
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Both shafts have rectangular cross-sections, and are decoratively carved on all sides, but the fallen shaft was used as a threshold for the church door for a long time and is badly worn on one face. The standing shaft was found in the churchyard in 1825, and then used as a lintel. It was moved into its present position and reunited with its socle, which was also found in the churchyard, between 1884 and 1889. The standing shaft is a scheduled monument.
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Souchal, Supplement, 1993, p. 105). His free copy of the king's Roman Diana, the Diana of Versailles, was repeated in his workshop several times. His gilt-bronze Four Captive Nations (1682–85) celebrated the early victories of the armies of Louis XIV over the alliances of Spain, the Holy Roman Empire, Brandenburg and the Dutch Republic, in Louis XIV's Place des Victoires, Paris. They ornamented the socle of Desjardins' standing sculpture of Louis XIV, which was melted down at the Revolution.
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The first floor contains windows with small stone cornices and a small bugnato ashlar socle while the other two have pilasters along the full length of the facade with tympanum windows, alternatingly triangular and curved. The interiors were then completely renewed. The entrance leads into the courtyard with its monumental Baroque staircase. To complete this part of the palace, the facade of the Church of San Gottardo in Corte had to be demolished while use was also made of the adjoining square.
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The preimage in G of the center of G/Z is called the second center and these groups begin the upper central series. Generalizing the earlier comments about the socle, a finite p-group with order pn contains normal subgroups of order pi with 0 ≤ i ≤ n, and any normal subgroup of order pi is contained in the ith center Zi. If a normal subgroup is not contained in Zi, then its intersection with Zi+1 has size at least pi+1.
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German archaeologists detected plaster edges of lost wooden door panels that could close the doorway between the tablinum and this cubiculum. Similar to the tablinum, this space has a black socle divided into panels with broadleafed green plants accented by yellow flower ornaments under the pilaster strips. The main zone is white divided into panels by dark red stripes. Panels are further detailed with filigree borders and floating emblems of opposing griffins, flying swans with heads turned back, dolphins, and jumping bucks.
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The socle was around 2 m high and of three steps, of which only one remains above ground.Konrad, 2001, p. 370. A pedestal, nearly 8 m tall with cornice and mouldings at the top and bottom, that probably faced the Mese odos to the south and whose southern, eastern and western faces were decorated with carved reliefs in four registers. The north side, mostly undecorated and probably facing away from the Mese, had a doorway which allowed access to the spiral staircase within.
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Stone pear groins fit on the wall's five sided tracery console and on the tops they are tied by moderately appearing circular pins. Pseudogothic gallery on the west of the nave is created by two pointed profiled arcades with central pillars culminate with parapet decorated by fields of odd traceries. Semi-pillar is approaching to the central pillar and carries profiled socle of an oriel which was originally set as platform altar. The organs located on the church-gallery are from the end of the 19th century.
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In mathematics, the term cosocle (socle meaning pedestal in French) has several related meanings. In group theory, a cosocle of a group G, denoted by Cosoc(G), is the intersection of all maximal normal subgroups of G. Adolfo Ballester-Bolinches, Luis M. Ezquerro, Classes of Finite Groups, 2006, , p. 97 If G is a quasisimple group, then Cosoc(G) = Z(G). In the context of Lie algebras, a cosocle of a symmetric Lie algebra is the eigenspace of its structural automorphism that corresponds to the eigenvalue +1.
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The members of de Belgiojoso's circle included Italian revolutionaries, political radicals, and prominent members of the European artistic intelligentsia. From this milieu, Dantan began to receive many requests, either for original caricatures or for casts of busts he had already made. For example, in an 1835 letter to Madame Hanska, Balzac speaks with pride of Dantan's caricatures of himself (there were two). thumbA frequent feature of Dantan's caricatures was the inclusion of a rebus on the socle, allowing the identity of the subject to be made out.
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The round-bottomed Roman style, including, or designed to be placed on, a socle (a short plinth or pedestal), became most common. Gian Lorenzo Bernini, based in Rome, did portrait busts of popes, cardinals, and foreign monarchs such as Louis XIV. His Bust of King Charles I of England (1638) is now lost; artist and subject never met, and Bernini worked from the triple portrait painted by Van Dyck, which was sent to Rome. Nearly 30 years later, his Bust of the young Louis XIV was hugely influential on French sculptors.
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Many Gallo-Roman fortifications called castellionum have given rise to French places called Châtillon. The little fortress called Castellionum super Matronam commanded a strategic crossroads in the valley of the Marne and was repeatedly attacked and demolished and refortified, including during 1575. The modern village retains the traces of the densely built fortified village in the narrowness of its streets. Within the commune there is a triumphal statue of Urban II. The statue is 9 metres tall with an interior spiral staircase, and stands on a drumlike socle that raises it to 25 metres.
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The station's walls are covered with white ceramic tiles with a pink socle near the tracks. In addition to that the station features a set of metallic plates depicting various episodes from the Russian Civil War (artists and sculptors: V. Gorchakov, L. Soshinskaya, V. Karpov). As part of the reconstruction of the Kakhovskaya line and its future inclusion in the Bolshaya Koltsevaya line, work is underway to replace the entire finish. The station is located on the Kakhovka Square, where several roads meet up including the Azovskaya Street, Chongarsky Boulevard and the Kakhovka Street.
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Located on the corner of Skolegade and Kirkegade, the church is a typical Neoromantic building in red brick with belts of grey stone on a granite socle. It originally consisted of a nave with a chancel and apse at the east end and an entrance through the tower to the west. Møller expanded the building in 1896 with transepts to the north and south fitted with galleries, doubling the seating capacity from 400 to 800. The outer walls are decorated with lesenes, round-arched friezes and a toothed cornice.
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The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle. Neptune aims his trident seawards, while Triton is blowing his conch. The conch was designed to spurt out gushing water, in order that the sculpture could serve as a fountain. The posture of Neptune's stance, the filling-in of the reverse-V- shaped negative space by another figure (of Triton), were "radical" departures from for Bernini,.
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Taken its entirety, however, the ritual post represents the deity Papa Legba, the gatekeeper or messenger of the loa, without whose intercession communication with the realm of the divine would be impossible. Sacrifices are carried out regularly to sanctify the structure / honour the deity, either at the foot of the potomitan itself or at the base of the socle - most notably prior to voodoo ceremonies proper - in order to keep it a fit conduit for the transmission of the divine powers.Tann, M.C. 2012 Haitian Vodou: An Introduction to Haiti's Indigenous Spiritual Tradition. Llewellyn: Woodbury, 2012.
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The unveiling in The Hague on 12 June 1918 was a national event. The actual unveiling was done by Wilhelmina of the Netherlands, with several ministers in attendance. The statue stands close to the place where De Witt and his brother Cornelis were killed by a mob in 1672. On the side of the socle a text is engraved which – in translation – reads: 'Leader and servant of the Republic, designer of it most powerful fleets, defender of the freedom of the seas, caretaker of the State's coffers, mathematician.
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In the (p) portion of the space containing the stairs to the upper floor there is coarse plaster composed of black sand with little brick chippings. On the tongue wall and below the former flight of stairs. The same plaster is used on the remaining walls of (i) except on the south and east walls where a socle of fine reddish plaster was applied up to 1 3/4 m. high. On the east wall a pilaster next to entrance 7 is red and the inside of the adjoining partition wall is painted ocher.
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Building activity increased markedly in the latter half of the fourteenth century with Burna-Buriaš and his successors undertaking restoration work of sacred structures. Inscriptions from three door sockets and bricks, some of which are still in situ, bear witness to his restoration of the Ebabbar of the sun god Šamaš in Larsa. A tablet provides an exhortation to Enlil and a brick refers to work on the great socle of the Ekiur of Ninlil in Nippur. A thirteen line bilingual inscription can now probably be assigned to him.Bilingual inscription Sm. 699, K. 4807 + Sm. 977 + 79-7-8,80 + 79-7-8,314.
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The outside walls of the Aalto Museum are clad in light-coloured ceramic tiles named "Halla" ("frost"), manufactured by the famous Finnish porcelain manufacturers Arabia. The high concrete socle was painted white. The vertical bands of baton-shaped, glazed tiles divide up the rampart-like elevations to form a relief that gives a strong effect of depth when the surface is washed with light. The rampart-like quality is emphasised by the vertical battens on the roof windows of the exhibition galleries, which cause the roof lights to merge into the façade when looked at from a certain angle.
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The Column of Phocas, against the backdrop of the Arch of Septimius Severus. The Column of Phocas () is a Roman monumental column in the Roman Forum of Rome, Italy, built when Rome was part of the Eastern Roman Empire after reconquest from the Kingdom of the Ostrogoths. Erected in front of the Rostra and dedicated or rededicated in honour of the Eastern Roman Emperor Phocas on August 1, 608 AD, it was the last addition made to the Forum Romanum. The fluted Corinthian column stands 13.6 m (44 ft) tall on its cubical white marble socle.
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After receiving prices for best design and lighting, the show travelled from Hobart 2013 to Maison Rouge in Paris. For the Guggenheim New York, he conceived the large ZERO retrospective in 2015, which toured to the Gropiusbau Berlin, and the Stedelijk Museum Amsterdam. For the Multimedia Art Museum in Moscow and the Sabancı Museum in Istanbul, he curated in 2016 a show with Heinz Mack, Gunther Uecker and Otto Piene. The 7th Biennale Socle du Monde (2017) in Herning Denmark was conceived by Mattijs Visser and curated by Jean-Hubert Martin, Olivier Varenne and him selves.
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In another direction, every normal subgroup of a finite p-group intersects the center non-trivially as may be proved by considering the elements of N which are fixed when G acts on N by conjugation. Since every central subgroup is normal, it follows that every minimal normal subgroup of a finite p-group is central and has order p. Indeed, the socle of a finite p-group is the subgroup of the center consisting of the central elements of order p. If G is a p-group, then so is G/Z, and so it too has a non-trivial center.
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Furthermore, the Weyl character formula gives the character (and in particular the dimension) of this representation. For a split reductive group G over a field k of positive characteristic, the situation is far more subtle, because representations of G are typically not direct sums of irreducibles. For a dominant weight λ, the irreducible representation L(λ) is the unique simple submodule (the socle) of the Schur module ∇(λ), but it need not be equal to the Schur module. The dimension and character of the Schur module are given by the Weyl character formula (as in characteristic zero), by George Kempf.
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The Fauces is paved with gray signinum with a net of rectangularly laid rows of white tesserae. There are two dark ocher-colored pilasters that were repaired, possibly due to the quake of 62 CE. The space includes the remains of a figurative picture thought by some scholars to have been Priapus or some similar guardian figure. The socle, painted black, is divided by yellow lines with yellow candelabra, with a red main zone and white upper zone. Cubes outlined with gray and red are painted in the white upper zone to imitate masonry, a decorative motif carried over from the First Style.
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Cubiculum C Emblem of dancing swan on North Wall The black socle in this room is speckled with red and ochre to simulate marbling and is separated from the white main zone by an ochre stripe. The red-framed white main zone is divided by black vertical lines with red inner frames into panels with floating emblems of dancing swans and jumping goats. There is a window on the east wall that extends into the upper zone to provide supplemental lighting. There is a recently installed bed niche in the north wall where the gray signinum floor pavement had not yet been repaired.
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The third stage lies above the line of the nave, with the achievement of a single window on all sides. Each of these windows are of similar pattern to the bottom stage west window, but smaller, with transom--separating horizontal bar --and with an attached hood mould. The fourth stage windows are elongated versions of the third stage, but with added label stops at the spring of the hood mould. The tower sits on a simple moulded socle (plinth) topped by a cill band--angled projection that allows water to flow from a building face--which continues around the whole church apart from the south aisle.
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Standing in the centre of the Metropolitan Complex, the Great Cathedral is a monumental building of a rectangular plan with four detached towers at its corners that originally flanked an immense dome. The cathedral is long and wide, and with a height of the towers of , it is one of the tallest historical buildings in Moldavia.The architecture The exterior of the Cathedral, as well as the interior, is decorated in the Baroque style. The eastern façade has a central motif formed of six Corinthian columns erected on a stone socle, which support the architrave, above which is a high bas-relief of the Presentation of the Lord.
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The square was completed by the reconstruction of the facade of the Archbishop's Palace in 1784, again assigned to Piermarini. Keeping the old portal designed by Pellegrino Tibaldi, he simply added square windows, crowned with triangular tympani on the first floor, and added a new socle on the ground floor while creating a string course on the first floor.Pisaroni, 41 Among the few remaining Neoclassical residences is the Palazzo Tarsis built by Luigi Clerichetti between 1836 and 1838. With a ground floor faced in rusticated bugnato, the first floor has a portico of Corinthian columns while the top floor, subsequently heightened, presents statues by Pompeo Marchesi.
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Socle of Hans Albers statue at the Hans-Albers-Platz, by Jörg Immendorff 1986. Auf der Reeperbahn nachts um halb eins The popular 1944 movie Große Freiheit Nr. 7 tells the story of a singer (played by Hans Albers) who works in a Reeperbahn club and falls in love with a girl played by Ilse Werner. Hans Albers and Heinz Rühmann played in the 1954 movie Auf der Reeperbahn nachts um halb eins (On the Reeperbahn at Half Past Midnight, after a song of the same name sung by Albers in the 1944 film). In 1958, Trinidadian calypso artiste, Lord Invader recorded a track entitled "My Experience On The Reeperbahn".
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In the field of archaeology this term refers to a wall base, frequently of stone, that supports the upper part of the wall, which is made of a different material – frequently mudbrick. This was a typical building practice in ancient Greece, resulting in the frequent preservation of the plans of ancient buildings only in their stone- built lower walls, as at the city of Olynthos.Maher, Matthew P, The Fortifications of Arkadian City States in the Classical and Hellenistic Periods, p. 36, 2017, Oxford University Press, , 9780191090202, google books In Pompeian interior painting styles, the socle is the lowest zone of wall painting in all four style periods.
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This corridor-like room, only 34 inches wide by about 6 1/2 feet deep, is thought to have contained a cabinet for herbs or medicinal compounds. It has the same floor pavement as the porticus and appears to have been intentionally created when the exedra (summer triclinium) was constructed within the south side of the porticus. Its walls were painted white with dividing stripes in red and ocher above a black socle. On the east wall is a twisted candelabra overlapped by a red filigree border and fragments of a red ornamental ribbon, green leaf garland with red fruits and a green lion-griffin springing to the left.
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Angled buttresses of three steps run at each corner to the belfry stage and are continued to near the parapet by square shafts, topped by crocketed pinnacles set away from the tower face. On both west corners the buttresses sit on a moulded socle (plinth) topped by a cill band--angled projection that allows water to flow from a building face--that continues in this style around the tower and south aisle only. The north-east and south-east buttresses spring from the north and south aisle and nave roofs. The north-west corner has a five-sided stair turret built out from the tower, with a slit window at the west, and belfry stairs within.
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Between the two windows is a sculpted plaque: :REEDIFICADA PELO / PADRE FRANCISCO / LUIZ DE FREITAS / HENRIQUES / ~1868~ :Reconstructed by / Father Francisco / Luiz de Freitas / Henriques / 1868 The three sections have double lintel surmounted by cornice, and the facade is delimited by socle, with cornerstones and cornice that continue to the belltower and circle the building. Over the cornice is a frontispiece that accompany the slope of the ceiling. The vertical apex of the frontispiece has a trapezoidal form, defined by two scrolls that support a horizontal section of cornice surmounted by cross with the initials JHS. In the tympanum is a circular oculus framing a 45º square (intersected by cornice) and flanked by two small squares.
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Today the Captifs are conserved in the Louvre, their gilding weathered away. A marble workshop copy of the Louis XIV is to be seen in the Orangerie at Versailles. Similarly his equestrian statue Louis XIV erected in 1713 in Place Bellecour, Lyon was destroyed by the revolutionaries;It had been completed well before that date: Roger Scabol was contracted in 1693 to make the moulds for casting it (Wengraf, see ref.) Engravings of it, and a bronze reductions by Nicolas Delacolonge, dated 1726, give a clear idea of its format. however the bronze figures from its socle, the river gods of the Rhône and the Saône, which flow together at Lyon, were spared and are conserved in the Hôtel de Ville, Lyon.
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Diagram of the track layout The station consists of two parallel halls of identical pillar-trispan (centipede) design typical of the 1960s stations. Decoratively the halls differ from each other no more than from any other centipede stations built at the time. The eastern hall work of architects Nikolay Demchinsky and Yuliya Kolesnikova, features a grey marble coat on the rectangular pillars, white ceramic tiles on the walls (with a black socle on the tracks) and red granite floor with an asphalt on the platform edge. Interior of southbound hall (2020) The western hall is identical except the pillars are faced with brown marble, the floor is laid with grey granite instead of red and the ceramic wall has a slightly indigo shade instead of pale white.
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The station was designed by architects Nina Alyoshina and Nataliya Samoylova to a typical 1960s Moscow pillar-trispan design - "sorokonozhka" (centipede) and features two rows of 40 square pillars which flare towards the top faced with pink- yellow marble. A floor laid with grey granite of various shades and asphalt on the platform edges. The walls are covered by indigo ceramic tiles and blue marble socle. In addition there are several metallic artworks depicting silhouette images of famous landmarks in the city of Warsaw (work of Kh. Rysin, A. Lapin, D. Bodniyek) The station is located next to two important southbound arteries – the Varshavskoye Highway and the Kolomenskoye Railway station of the Paveletsky suburban railway line, but neither are pointed in Warsaw's direction and neither reach the city.
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Named after the electric light bulb factory nearby, the preliminary layout included Schuko's idea of making the ceiling covered with six rows of circular incandescent inset lamps (of which there were 318 in total). However the outbreak of World War II halted all works until 1943 when construction resumed. Gelfreich and Rozhin finished the design by adding an addition theme to the station the struggle of the home front during the war, which is highlighted by the 12 marble bas- reliefs on the pylons done by Georgiy Motovilov. The rest of the station's interior features most of the 1930s plans including powder-ballada marble on the rectangular pylons (the outside faces have sconces and decorative gilded grilles depicting the hammer and sickle), red salietti marble on the station walls, a dark olive duvalu marble on the socle and a chessboard layout on the main platform floor of granite and labradorite.
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On stylistic grounds, the column seems to have been made in the 2nd century for an unknown structure, and then recycled for the present monument. Likewise, the socle was recycled from its original use supporting a statue dedicated to Diocletian; the former inscription was chiselled away to provide a space for the later text. The base of the column was uncovered in 1813, and the inscription on it reads, in Latin:Inscription (p 3071, 3778, 4335, 4340) = CIL 06, 31259a = ILCV 00030 (add) = D 00837 = AE 2009, +00464 The English translation is as follows: The precise occasion for this signal honour is unknown, though Phocas had formally donated the Pantheon to Pope Boniface IV, who rededicated it to all the martyrs and Mary (Sancta Maria ad Martyres). Atop the column's capital was erected by Smaragdus, the Exarch of Ravenna, a "dazzling" gilded statue of Phocas (which probably only briefly stood there).
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The wall itself has a height of 15000 mm and consists of two lanes, each 3000 mm wide, with a distance of 0 to 1000 mm from each other. The wall stands on a 200 mm socle and must continue 500 mm above the finish button, i.e. above the 15 m. The wall must overhang continuously with an angle of 5°. The climbable surface has to be light grey, covered by a resin-quartz with 0.1/0.4 granulometry, the numbers apparently referring to grain sizes of fine sand. The top rope anchor point must be 1000 mm higher than the climbing wall and stand out 1000 mm from the wall. The layout for mounting the holds is based on a concept of square panels with a size of 1500 mm x 1500 mm each. Thus 20 panels, 10 vertically by 2 horizontally, form one of the two lanes.
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53 A number of fragmented votive life-size sculptures of little children lying on their side and holding a pet animal or a small object were also recovered at the temple site; among the best known of these is the Baalshillem Temple Boy, a sculpture of a royal child holding a dove with his right hand. The boy's head is shaved, his torso is bare and his lower body is wrapped in a large cloth. The socle of this sculpture is inscribed with a dedication from Baalshillem,The dedication reads: "This (is the) statue which Baalshillem son of King Ba'na, king of the Sidonians, son of King Abdamun, king of the Sidonians, son of King Baalshillem, king of the Sidonians, gave to his lord Eshmun at the "Ydll"-Spring. May he bless him" (taken from JCL Gibson's Textbook of Syrian Semitic inscriptions) the son of a Sidonian king to Eshmun, which illustrates the importance of the site to the Sidonian monarchy.
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Domenico Ghirlandaio, Confirmation of the Rule (detail) - the original Marzocco can be seen on the corner of the palazzo in the background at left, 1480s. The original that had stood since (perhaps) 1377, and is now lost, appears to have been similar to Donatello's in design, though it was fully gilded and may have crouched over a submissive wolf representing Florence's great rival Siena.Victoria and Albert Museum, page on their replica of the Donatello It can be seen in the background of several paintings and prints, though by the time it was replaced it was so worn that (being only medieval, not classical) it was not considered worth keeping, and disappeared. About 1460 it was given a richly sculptural socle with double baluster-like motifs"Resembling pairs of handleless all'antica urns arranged like the bulbs of a Roman candelabrum", according to Paul Davies and David Hemsoll, "Renaissance Balusters and the Antique" Architectural History 26 (1983:1-122) p. 4.
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Impost block Partial view of the capital Column drum, probably the uppermost of eight After the discovery of the various fragments around the column's site, Byzantinist and archaeologist Urs Peschlow determined the fragments to be related to one another and published a reconstruction of the Column of Leo in 1986. In it he argued the Colossus of Barletta, a much restored Late Antique bronze statue of an emperor in armour, came originally from the summit the Column of Leo, on account of its fitting the proportions of the reconstructed column. It has elsewhere been suggested the 1561 drawing by Melchior Lorck of the reliefs of an honorific column pedestal, usually believed to show the now-obscured pedestal of the extant Column of Constantine, could show instead the vanished pedestal of Leo's column. According to Peschlow's reconstruction, the column would have been between 21 and 26 m tall, without its statue, with a column shaft of about 15 m made up of eight drums, and a socle, pedestal and base nearly 7 m high.
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The Potomitan (also: poteau-mitan, poto mitan, poto-mitan or pòtòmitan: Haitian Creole: "central pole" - from the French: poteau, "post", and mitan, an archaism for "half") is an essential structural feature of the hounfour (temple) in Haitian vodou. Occupying the central position in the peristyle (sacred space at the centre of the hounfour / oufo), the potomitan takes the form of a decorated wooden post (occasionally a living tree) by means of which, it is believed, the loa descend to earth to inhabit, for a time, the bodies of the faithful through spirit possession. ] The structure consists usually of the whole trunk of a palm tree, being fixed to the ground by a masonry pedestal commonly known as a socle and attached at the top to the roof of the temple. A potomitan is often painted with designs in bright colours, featuring usually the motif of two intertwined serpents, symbolizing the primordial male and female divine couple Damballa and Ayida Weddo who, according to the cosmogony of the Haitian religion, support the sky, preventing it from crumbling and falling to earth.
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Bronze bucket with handles terminating in upturned goose heads from a Pompeii thermopolium similar to the one found in the atrium The atrium, like the fauces has a black socle topped with a red main zone and white upper zone painted with three rows of rectangles outlined in gray and red. The red main zone is defined by narrow green bands with light green border lines and a filigree border with a simple bud pattern applied in ocher. Floating emblems include dancing swans and other birds thought to be peacocks. In the atrium, excavators found a bronze basin with two handles terminating in the form of the heads of geese, another wide- mouthed bronze basin with two movable handles, a bronze bucket with a movable handle, a circular box with a hinged lid, a bronze fibula, a saucepan with protruding lip and circular handle, another large bucket with movable handle terminating in upturned goose heads with a fixed ring for hanging in the center, and two inscribed terracotta amphora.
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