The exhibition begins with a wall of undecorated metal and wooden washboards.
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Within the walls of our undecorated home, we carry on our own holiday tradition.
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There's a large undecorated tree over in the corner, which is allegedly the main attraction.
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Within the walls of our undecorated home, we carry on our own Muslim Christmas tradition.
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Suddenly — and unceremoniously — some undecorated Olympians are inheriting medals for their performances eight years ago.
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Locals can also submit their decorated or undecorated wreaths to be judged at the holiday competition.
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Results consistently showed that those with decorated spaces were more productive than those with lean (or undecorated) ones.
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The new space was undecorated and unmarked, and there wasn't much there yet but a couple of laptops.
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Weekly Masses have already started, using plastic office chairs in place of wooden pews in a still-undecorated hall.
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This landscape has been given permission to be wild, to be undecorated, uncontrolled and as odd as it wants to be.
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Many places will also accept undecorated trees and put them through a wood chipper to be turned into mulch and compost.
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Home Depot has a program that turns clean, undecorated trees into mulch for anyone to use once it has fully broken down into compost.
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Preston's efforts began in 2015 after a visit to the grave of his grandfather, a veteran, when he noticed other veterans' graves that were undecorated.
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I walked into the front lobby, a small space undecorated except for a narrow strip of Foxconn-spangled wallpaper behind a receptionist desk in the corner.
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Photo: GizmodoHeld in an undecorated court hallway on the second floor of the Fifth Circuit Court, the auction seemed subdued considering the controversy that surrounds these kuleana lands.
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While intricate carvings on the previously discovered shrines offered detailed information about their owners, these are undecorated, so the identities of those once buried in them remain unknown.
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Once it was opened, Samantha and I went down a passage into a small, undecorated wood-paneled room with some pews and a scratched wooden cube for an altar.
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He was an undecorated independent senator from an extremely liberal state who only identified as a Democrat to run for president, and moreover described himself as a democratic socialist.
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It's not an accident that the Michael Kors white suit she wore in Israel looked almost identical to the Maison Ullens taupe suit she wore in Belgium: tight, belted, undecorated.
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Not an inch of the gilded grand foyer is left undecorated; the nearby Salon du Soleil is a magical space with facing mirrors that create the illusion of a candlelit abyss.
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Dip the 2 undecorated pretzel sticks in leftover melted peanut-butter chips or chocolate, and hold in place against the backs of the cat ears for a good 5 seconds to set.
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The sheets are a paper-like (edible!) product that you can cut out using regular scissors and drape over any old cake (including store-bought) — taking said undecorated cake from blah to brilliant.
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Meccanoville occupied the former site of Detroit and environs, a sprawling congeries of undecorated, black spun-carbon-fiber windowless buildings of all shapes and sizes that obeyed rules of an architecture foreign to organic lifeforms.
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When I finally found my way to the mysterious Room 530, in the rear of their Los Angeles offices, Steel welcomed me into an undecorated open-plan space filled with a dozen or so black workstations.
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A collection of brown chairs and black tables on a black floor in an undecorated white room, it is as austere as a Shaker chapel, although one with a long, well-populated bar against the wall.
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You can rock them undecorated (because 600 beads can be a bit much, tbh), or for an even easier take, give Dutch braids a try by working with two larger sections instead of sectioning them off in smaller ones.
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Archaeologists who specialize in Italy's prehistory often grumble that, when wonders like the Pantheon and the Colosseum are a constant reminder of what was to come, it can be hard to stir up excitement about chipped spearheads or undecorated clay pots, even if they date back millenniums.
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And now here's the high-rise we build to brace back, this series of holes for bathing and mending and parboiling roots and undecorated fucking in the style of the times: one person half-braying, the other admonishing KEEP IT DOWN—I DON'T WANT THE WAR TO HEAR .
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The room was undecorated, with numbered blue file cabinets—Barragán's own—against a back wall and newer flat-file drawers on the opposite wall; floor-to-ceiling shelves filled with acid-free boxes stood on both sides, and there were two tables in the center of the room.
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Gay has always mined her personal history for material without looking for pity or absolution from her reader, and while her spare, utilitarian prose could be conspicuously undecorated in her recent collection of stories Difficult Women, here it helps her avoid melodrama and the fundamental fallacy of writing about sexual violence: more detail equals more realism equals more importance, which you can see anywhere from Hanya Yanagihara's novel A Little Life to the now discredited Rolling Stone story about sexual assault at UVA.
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A simplified and undecorated form of Solander box termed a "phase box" is used for temporary storage of books during conservation work. These are constructed from plain mounting board. Although undecorated, the materials should still be of archival grade.
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Many poles have no vertical arrangement at all, consisting of a lone figure atop an undecorated column.
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The reverse is smooth and undecorated, with the rank, initials and surname of the recipient impressed around the perimeter.
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Pentney brooch, (8.3 cm), British Museum Each brooch of this pair has an undecorated backplate with a riveted pin attachment.
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Undecorated pavlova can be left overnight in the oven, or for several days in an airtight container, to be decorated when ready.
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Although some pottery is still made, it is, for the most part, strictly functional and undecorated, and weaving has all but vanished.
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The pulpit is in carved wood, and in the church are box pews. The font dates from the 15th century and is undecorated.
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The Plain (East) Cross is tall and undecorated, except for mouldings and a central boss that mimic metalwork, and a heavy mitre-like crown.
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The theme of Georgian simplicity is continued inside the house where the lath and plaster walls and ceilings appear undecorated except for substantial joinery.
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Though mostly undecorated, the houses do show some basic Craftsman detail, such as exposed wood rafter ends. All houses are of wood- frame construction covered in stucco.
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The stick is an undecorated piece of hardwood measuring 1-1.5 yards long and 2 inches in diameter. The shield is of round or elliptical shape. Also traditionally undecorated, it is known as giling or nggiling when made of buffalo hide and perisai kayu when made of wood. Both the whip and the stick form were traditionally practiced in Manggarai Regency, but the stick is rarely seen today.
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Wankarani pottery was undecorated, making it hard to understand the visual style of this culture. Wankarani culture ended as it was incorporated into the growing and expanding Tiwanaku empire.
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The Hanuman Mandir is on the western extreme of a high rectangular enclosure with entrances on the south and the north. The temple's ceiling is undecorated, and lime-plastered.
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The long whip is 5–6 feet long and made from palm stems tied together with either rattan or strips of water buffalo hide. The stick is an undecorated piece of hardwood measuring 1-1.5 yards long and 2 inches in diameter. The shield is of round or elliptical shape. Also traditionally undecorated, it is known as giling or nggiling when made of buffalo hide and perisai kayu when made of wood.
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One sherd was finger-trailed but otherwise all sherds were undecorated. No handles were observed. The Oneota at Juntunen is similar to the Oneota component at the Mero site in Wisconsin.
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Only three complete vessels were collected, but remains of 392 potsherds were also discovered. 100 of the sherds were decorated at the rim, but the remaining 292 were undecorated body sherds.
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The bhogamandapa is a pidha deula, in height and in shape of square. It stands on a platform. The five outer wall divisions are undecorated. It is topped with a small pinnacle.
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At each side of the building there were two windows. The exterior and interior were undecorated. There was a hexagonal pulpit against the inside front wall. The church is still in use.
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The platform is surrounded by a stone railing. The structure is entered through a single stone doorway. In contrast to the elaborately carved stone pillars, these have an undecorated and plain finish.
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From the 14th to the mid-15th centuries, new types of pottery forms were being produced for the market in London. These new forms were typically plain pottery items, undecorated or decorated simply with grooved lines.
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Weidenfeld & Nicolson, 1998. Michael Schmidt (poet) observed that her "free verse is fast-moving, urgent with narratives, softly spoken. Her cadence is natural, her diction undecorated." Bhatt has been recognized as a distinctive voice in contemporary poetry.
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It was Dufourny's great friend and fellow architect Giuseppe Marvuglia who was to preside over the gradual decline of Sicilian Baroque. In 1784 he designed the Palazzo Belmonte Riso (Illustration 21), a good example of the period of architectural transition, combining both Baroque and neoclassical motifs, built around an arcaded courtyard providing Baroque masses of light and shade, or chiaroscuro. The main façade, punctuated by giant pilasters, also had Baroque features, but the skyline was unbroken. The pilasters were undecorated, simple, and Ionic, and supported an undecorated entablature.
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Only at the top floor the windows have no decorations, columns are thin and their capitals are slender but smooth. The side facing the church (N-W) is the most decorated, while the S-W side is undecorated.
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Complete mythical scenes were rare. Often, the lip remained completely undecorated. Further decorations were painted in the handle zone. They nearly always included inscriptions between the handle palmettes, as well as a painted strip near the upper edge.
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The El Omari culture is known from a small settlement near modern Cairo. People seem to have lived in huts, but only postholes and pits survive. The pottery is undecorated. Stone tools include small flakes, axes and sickles.
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The outside has several gargoyles. Inside the church are a copy of the Madonna and child by Raphael and an early font which pre-dates the current building. The font is undecorated and stands on a cylindrical stem.
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The garden facade, previously simple and undecorated, was reformulated and added a semi-private patio adjacent to the facade.Ville e castelli d'Italia: Lombardia e laghi, second edition, by Luca Beltrami; Editors of Tecnografica, Milan, (1907), page 389-391.
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The baptismal font is in undecorated Romanesque style, built in granite. It is the oldest piece in the church. The organ is from 1984 from Aabenraa. The church has four bells, two built in Copenhagen from 1734 and 1764.
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"Recent archaeological research in Laos". Bulletin of the Indo-Pacific Prehistory Association, 19, The stone jars are undecorated, with the exception of a single jar at Site 1. This jar has a human "frogman" bas-relief carved on the exterior.
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In the far right of the west wall, Ramose is depicted leaving the palace and being congratulated by the people. Further into the tomb, an undecorated corridor leads from the centre of the west wall to a chapel with three niches.
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Also, his work is related to the abstract-geometric art production in the Netherlands after De Stijl."Jan van der Vaart" at kunstbus.nl. Accessed 15.05.2015. Van der Vaart's work is of clear form, focusing on the use object and undecorated.
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On the slope, there was a skeletal grave in stone setting, furnished with three undecorated cups similar to the pottery found in other parts of the site. This part of the tell was badly eroded; no architectural remains were uncovered.
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The reverse is smooth and undecorated, with the year the decoration was awarded impressed at the bottom on decorations awarded in the United Kingdom, or with the rank, initials and surname of the recipient impressed around the perimeter in some countries.
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Othem Church is built in a rather plain Gothic style. The two south portals are very similar, decorated with sculpted floral ornaments. The Romanesque north portal is undecorated. The nave is almost square, and its four bays are supported by a central pillar.
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But enlisted personnel went undecorated. On 30 December, a Japanese aircraft dropped a bomb that landed about short of the ship, skipped above and over the ship between her smoke stacks, and fell into the water on the other side of the ship.
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Humble undecorated items included chamberpots, colanders and small disposable ointment pots (gallipots), dispensed by apothecaries. Large decorative dishes, often called chargers, were popular, and included much of the most ambitious painting, often stretching the artists to the edge of their capabilities, and beyond.
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Primus Verlag, Darmstadt 2011, , p. 307. The front side, with a flat bottom and narrow, recessed edge, is undecorated. It is the back side which makes the object stand out. This surface is surrounded by a chip patterned band, even on the handle.
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Breeding occurs throughout the year on Saipan, where the species' nesting behaviour has been studied. The peak breeding period seems to be from March to July. The species is monogamous. The nests are simple undecorated cups of casuarina needles, grasses, and vines.
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"Temples" (or charnel houses) and other buildings were decorated with wood carvings. Pottery used in daily life was largely undecorated, but ceremonial vessels (found in burials) were distinctively decorated (the defining characteristic of the Safety Harbor culture).Bullen. 53, 56. Milanich 1994. 390.
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The Michelsberg site itself was unusually well- preserved, its interior yielded numerous settlement-related pits. The architecture consisted of daub-covered wooden structures. Remains of a pathway were found in the East of the site. Michelsberg pottery is characterised by undecorated pointy-based tulip beakers.
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289 This face also has a stone string course and cornice. The wide central entrance is reached by a flight of steps; it has decorative stone inserts, a semi-circular brick arch above and a fanlight. The windows have undecorated stone lintels and sills.
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The carriage house is built with locally quarried limestone. The roof features a cupola with a weather vane, placed at the crossing of the two gables. The building is largely undecorated except for a wide bracketed cornice. The interior retains its rough cut roof trusses.
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All of the figurines had similar classic Olmec features including bald elongated heads. They had small holes for earrings, their legs were slightly bent, and they were undecorated – unusual if the figurines were gods or deities – but instead covered with cinnabar.Pool, p. 164. Interpretations abound.
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Studebaker's 1957-58 Scotsman had proved the existence of a demand for a less-flashy automobile, and while the Lark was not nearly so undecorated as the Scotsman, it was unmistakably purer of line than anything Detroit would offer for 1959, save the Rambler American.
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Braided hair rests as a headpiece with flowers inlaid. The males wore undecorated tapa around their waist and nothing on their head. Following the conversion to Christianity, dance was prohibited until 1859 when the French organized a festival after Napoleon III defeated Italy.Stevenson, Karen.
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This is a primary burial inland site where eight burial jars were recovered, some with impressive design and some undecorated. Materials recovered were glass beads interred with females and metal implements interred with males. The site is of metal age, 200 BC – AD 200.
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Most of the furnishings are also from the 17th or 18th century. An exception is the undecorated baptismal font, which is medieval. The church underwent a renovation in 1955-56. Follingbo Church belongs to the Church of Sweden and lies within the Diocese of Visby.
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The one surviving wing of the monastery proper is a rectangular building with a cloister facing the former quadrangle. The building has a half-timbered extension protruding to the north-east, and richly decorated crow-stepped gables. The windows are typically pointed undecorated Gothic windows.
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The meeting space has a circular arrangement: all the seats surround the center platform in a radial fashion. The center platform, itself, also is different from other religious halls because the platform is barely above the seats, indicating that the speaker, physically and figuratively, comes from where the audience sits, and is not separate and apart from the people. Moreover, the simplicity of the design translates into the details of the exterior, from the lack of finishing on the wood to the undecorated walls. However, like the exterior, the interior is not entirely plain and undecorated: Inside the meeting house, there is a stained-glass window designed by Louis le Vaillant.
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The recovered cargo included vessel fragments and glass cullet exported from Syria.Pinder-Wilson 1991, 114 The significance of these finds lies in the information they can tell us about the production and distribution of Islamic glass. Despite this, the majority of studies have concentrated on stylistic and decorative classification (Carboni 2001; Kröger 1995; Lamm 1928; Lamm 1931; Scanlon and Pinder-Wilson 2001), and as such technological aspects of the industry, as well as undecorated vessels and objects, have often been overlooked within the field. This, in particular, is frustrating because the majority of glass finds during the Islamic period are undecorated and used for utilitarian purposes.
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The southern cross (height ) and central cross (height ) are decorated on all four sides; there are full-length human figures and plaitwork patterns, on panels separated on the southern cross with curved divisions, on the central cross with straight divisions. The northern cross (height ) is undecorated.
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An external support system based apparently on three additional operations with over-tile roofs aisle. Cross vaults with stone and twice mangered ribs span the space nave. Bolts at ribs are the same as in the northern aisle (undecorated, circular). Ribs do not end consoles mostly.
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The natamandapa is a pidha deula, in height and in shape of rectangle in length by . It is probably a later addition to the original temple, which consisted of the vimana and jagamohana. It stands on a platform. The five divisions of the outer wall are undecorated.
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Note that decorators and the original class object share a common set of features. In the previous diagram, the operation() method was available in both the decorated and undecorated versions. The decoration features (e.g., methods, properties, or other members) are usually defined by an interface, mixin (a.k.a.
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This trend did not continue, however. As > far as we can see now, people then gave up painting their pottery for > centuries. Instead, people concentrated on the production of undecorated, > coarse wares. It was not until around 6200 BC that people began to add > painted decorations again.
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The style is characterized by rounded and pointed arches on a vertical plane. Flying buttresses were used, but are mainly undecorated. Romanesque buttresses were also used. Romano-Gothic began to use the decorative elements of Gothic architecture, but not the constructional principles of more fully Gothic buildings.
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These bands are either dotted or are incised lines separated by undecorated bands. The internal rims had chains of hatched triangles. These caliciform beakers were between 20.6 cm and 33 cm in height. The second type is decorated with hatched, oblique, regularly spaced bands covering the entire beaker.
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Milanich 1993. Milanich 1995. Between 500 and 1000, the undecorated, sand-tempered pottery that had been common in the area was replaced by "Belle Glade Plain" pottery. This was made with clay containing spicules from freshwater sponges (Spongilla), and it first appeared inland in sites around Lake Okeechobee.
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The dormitory is a large (c. 46 x 11 m), undecorated hall without any partitions for the monks, who, initially slept on straw mattresses lying on the floor. The wooden rafters are supported on a series of ogival stone arches that spring from corbels in the side walls.
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The first pair of holes were square while the other two pairs were round. The base of the flagpoles has not survived. The undecorated nature of the pole, save for horizontal stripes carved on the exterior of the two poles, suggests that the poles were created during Later Silla.
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Time Sculpture opens with a fixed camera view of an undecorated art studio. On the open floor is a chair and a platform trolley. A man and a woman walk into frame from left and right respectively. The man falls to the floor and begins doing push-ups.
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This is the work of the talented Elder > brother. One discovers that the value of these undecorated wares is the same > as that of unpolished gems. How could one compare this and the more > elaborate products of Xuan(de) and Cheng(hua)? Each has its own individual > charm.
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Second version, the thin so-called faxable version Third version, with raised rim on reverse but undecorated suspender A third version appeared in the early 1990s, with a raised rim on the reverse and a separating line (--- • ---) added between the Afrikaans and English inscriptions, but still with an undecorated suspender reverse, as depicted. On these the medal number was engraved near the bottom on the reverse side. Medals minted from the mid-1990s were once again compliant with the description in the warrant in terms of which the medal was instituted, but they were struck in one piece with the suspenders. The separating line between the Afrikaans and English inscriptions of the previous version was omitted.
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171 The east side has a pair of windows into each tomb, now blocked. In the centre of the east side is a doorway opening into the domed room at the back of the sabil. The interior of this room is undecorated, and is now used as a park keeper's hut.
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Shire, pp.76–79 The 19th-century architectural historian R. W. Billings described the statues as "the fruits of an imagination luxuriant but revolting".Billings, p.3 The west façade is undecorated and incomplete, and the Privy Council of Scotland noted in 1625 that the building was "schote over the craig".
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An undecorated rondavel An African-style hut known in literature as cone on cylinder or cone on drum, but popularly referred to simply as rondavel (from the Afrikaans word rondawel). It has largely undergone Westernization in its recent developments, but it also remains the popular perception of a traditional indigenous settlement.
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The headstock commonly ends in two styles, either a head (representing animals or humanoids) or a curve (into a flat finial, carved or undecorated). Less commonly, instead of gears, wooden pegs may be used to tune the strings. Lute guitar headstocks are thinner and more curved than their modern guitar counterparts.
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At window sill level a projecting square profile string course runs along the Gloucester and Essex Street facades.Howard, R., et. al., 1991, pp. 15–21. Style: Commercial Italian Renaissance Palazzo; Storeys: Six; Facade: Stone and face-brickwork; Internal Walls: The walls are largely undecorated and finished with painted plaster over brickwork.
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The smaller, southern of the two granite crosses from the earlier foundation is roughly high and is decorated with a rough ringed cross. The taller, western cross is high and is undecorated. It is made from a single piece of granite and features distinctive cusps where the arms meet the shaft.
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The back of the brooch is undecorated. The pin and spring hardware is intact and decorated with two stylised beasts. The smallest brooch differs from the other brooches in size, construction and ornamentation. It is constructed with a quincunx of rivets that connect the face to the gilded base plate.
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The (6.1 cm) brooch consists of an openwork silver sheet metal face with simple decorations of entwined plants, that cover a gilded copper alloy backplate. The back of the brooch is undecorated and the pin hardware is damaged. The smallest brooch appears to be the only brooch that has been worn.
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The following band narathara has figures of men in different attitudes. ;Mandovara or wall moldings Mandovara, the wall moldings start with kumbha, a pitcher. It has a broad undecorated band at the lower part while the middle part is decorated with oval discs. It is followed by kalasha, a pitcher.
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The fourth- through 32nd-story windows have plain, undecorated sills and windows. Each window bay is separated by vertical limestone piers. Above the 28th story especially, there are cast-stone decorative elements. The 30th floor, 31st floor, and 31st-floor mezzanine contains five triple-height arched windows on each facade.
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The actual burial chamber is entered via a steeply sloping corridor in the south-west corner, and eventually leads to a four-pillared room, which is undecorated and seemingly unused, and contains an urn and an embalmed skull. There are traces of blue paint above the portal opposing the entrance.
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The decoration is divided in registers, and the head is undecorated. A recurring theme of the carving is curved radii similar to a swastika. It is similar to Roman steles, but maintains traditional indigenous features. Among the materials taken from the fortification, there are examples of decorations similar to the stele.
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In Australia, the shows can be either "closed style" or "open style" judging. In closed shows, the cats are placed in undecorated cages with white curtains and a bed. The owners must then leave the hall. The judges for each ring will examine each animal in turn and decide on awards.
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Several cones, New Kingdom Funerary cones were small cones made from clay that were used in ancient Egypt, almost exclusively in the Theban necropolis. The items were placed over the entrance of the chapel of a tomb. Early examples have been found from the Eleventh Dynasty. However, they are generally undecorated.
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La Garma is notable for its rich repository of Magdalenian portable art found in The Lower Gallery. The most outstanding artefact is a backward-facing ibex depiction carved onto a bovine rib spatula. Other portable art elements found at the cave complex include perforated batons, , decorated stone plaquettes, and undecorated pendants.
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Popular with Romanis, as well as Showmen families, and circus people, the Burton wagon is the oldest example of a wagon used as home in Britain. Originally undecorated, the Burton wagon evolved into an elaborate Romani vardo, but due to its smaller wheels it was not suited for off-road use.
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A small amount of decorated and undecorated ceramic was also noted. Small timber fence pickets and wire found within the cemetery also suggest that it was once fenced. The remains of a marble headstone and cement headstone base were located under the tree line marking the western edge of the marked cemetery area.
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Forsythe (2005), p. 54. Cremation burials consist of a hut- urn with ashes of the deceased placed in a dolium (large jar) with some other vessels used for food offerings. The pottery is undecorated. Instead of a hut- urn a vase with a cone-like roof or simulated helmet was sometimes used.
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All walls of the tomb chapel were decorated with paintings or sunken relief. The facade of the tomb chapel is undecorated. The short corridor to the main chamber is decorated on both sides with reliefs, showing Osiris on the western side. On the opposite side only the figure of a woman is preserved.
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The mastaba itself was once pretty large and contained large niches and chapels. It also contained a quite large amount of polished dishes, vases and urnes. Contradictorily, nearly all the vessels are undecorated, no ink inscription or carving were found on the objects. Thus, the name of the true owner is yet unknown.
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Built on a promontory, Hanassa contains ruins of houses with archways and courtyards. It also features sites with pillar tombs, including a rare octagonal tomb. Additionally, excavations here have retrieved sherds of celadon and undecorated pottery. Amongst the ruins is a small mosque, with a well-preserved mihrab overlooking the Indian Ocean.
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Habuba Kabira South in Syria Beveled rim bowls are small, undecorated, mass- produced clay bowls most common in the 4th millennium B.C. They constitute roughly three quarters of all ceramics found in Uruk culture sites, are therefore a unique and reliable indicator of the presence of the Uruk culture in ancient Mesopotamia.
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After much trial and error, Maria successfully produced a black ware pot. The first pots for a museum were fired around 1913. These pots were undecorated, unsigned, and of a generally rough quality. The earliest record of this pottery was in a July 1920 exhibition held at the New Mexico Museum of Art.
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Amenemipet called Pairy has a tomb chapel in TT29 in Abd el Qurna in Thebes. His actual tomb was found in the Valley of the Kings. Tomb KV48 is an undecorated tomb in the western branch of the southwest wadi. It is located near KV35, the tomb of Amenhotep II whom Amenemipet served.
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All letters and numerals are black. Initial entry training platoons carry colored guidons to signify what phase of training they have attained. The guidon bearer normally stands with the platoon guide when stationary and marches at the head of the column. Although IET guidons may have streamers attached, they are typically undecorated.
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The leather was stretched across between the rails and nailed into place with large headed brass nails. Such undecorated chairs are a characteristic furniture style of the Interregnum period. Only Russia leather was flexible enough to be used in this way. Inferior leathers, when used, would crack across the edges of the frame.
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Overall, the architecture of the temple is very plain and undecorated compared to some of the more ornate temples. This could be because the temple is Buddhist and therefore, its patrons hold to the idea of moderation in life. Yet, because of its simplicity it looks very elegant, flowing, and natural in the surrounding environment.
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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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The later designs, with cubic houses, flat undecorated exterior walls, prostyle porticos and other elements gave clear evidence of borrowings from English Palladianism. His work was highly geometrical. Thus a design that he made of a temple exactly matched tiling designed by Kepler. Even his designs for small bourgeois gardens were elegant and geometrical.
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Externally, the church is very plain, undecorated brick. The facade, which was constructed in several phases, has never been decorated. A remarkable feature of the church is its courtyard or atrium. This is a feature that was common in Early Christian churches, including the earlier St. Peter's Basilica in Rome, but has almost always disappeared.
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He is also very proud of his equipment, hosting parties at his home when a new piece of equipment arrives. His equipment is always pictured as retro, leather-and-wood equipment, tan-brown in color. His mask is plain, undecorated white. He has no doubts about his future vocation: Hall of Fame professional goaltender.
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Bank of New South Wales, now the Forrester Gallery Corinthian columns, supporting the entablature. The architrave, metope and frieze are undecorated. Lawson's classical works tended to be confined to public and corporate buildings. It appears that the Gothic style favoured by the Protestants for their churches was also their preferred choice for their houses.
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40 wooden coffins were uncovered, accounting for about 10% of burials at South Tombs Cemetery. Half of these were simple undecorated boxes; the remaining 20 coffins had surviving painted decoration. Of these, only eight were complete enough for their decorative scheme to be studied. The simplest decoration belonged to a child's box-shaped coffin.
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The interior and three sides of the exterior are plain and undecorated but the front and the pillars are elegantly carved, not unlike the 2nd century rock-cut cave temples of the Nasik Caves. Nalanda and Valabhi universities, housing thousands of teachers and students, flourished between the 4th–8th centuries.Encyclopædia Britannica (2008), education, history of.
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The pottery comprises much fewer shapes and is largely undecorated and coarse. The fine ware is represented exclusively by two- and one-handled drinking vessels (“Kantharoi”). A special feature of the earlier Noua building phase is a so-called “ashmound”. These round heaps formed of greyish sediments are typical for settlements of the Noua- Sabatinovka-Cologeni cultural complex.
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The church was originally an oratory for a flagellant confraternity, known as the Rossi or red for the processional gowns worn by the group. The confraternity then became the Confraternita del SS. Sacramento. The 16th-century façade was restored in 2002, the roofline has statues of the Saints Bartholemew, Peter, and Paul. The interior at present is undecorated.
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At the back of the atrium is the complex which consists of a large church and cloister. The front of the church has a very tall facade, which is mostly undecorated, flanked by two corner buttresses and topped by a small recessed tower. Along the top of the facade and on this tower, there are merlons.
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It is smooth, with a raised rim, and bears the inscription "FOR LONG SERVICE AND GOOD CONDUCT" in four lines. The reverse of the bar is smooth and undecorated on all versions. ;Clasp The Clasp displays the image of the Army Crest. In undress uniform a silver rosette on the ribbon bar denotes the award of the clasp.
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It is speculated that Occupation 2 was a butchering site or an activity area, however no further work was done to confirm this. The occupation phase was dated to 2020±230 BP and contained stone tools, undecorated pottery, and the remains of ovicaprids, cattle, wild game, fish and rodents. Occupation 2 also contained a knapping area.
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The paste is made of a fine-grained clay and has a texture that is soft, smooth, and compact. The temper is made from a fine-grained sand that has mica in it, which gives off a slight glitter appearance. There are three defined types named Moyaone Plain, Moyaone Cord-Impressed, and Moyaone Incised. Moyaone Plain is undecorated.
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On the flanking bays each level is expressed through projecting balconies which run along the north eastern elevation. The balconies have light weight metal balustrades. At the edge of the balconies, underneath the balustrades, are deep horizontal bands or valances which provide sunshading for the windows below. Built in a modernist style the surfaces of the building are undecorated.
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Most of Haji ware is undecorated and has wide rims. However, ritual and funerary objects were also made in the form of houses, boats, animals, women, hunters, musicians, and warriors, which were often placed inside tombs "Pottery ," Microsoft Encarta Online Encyclopedia 2007. Archived 2009-11-01. On occasion, these objects were placed outside the tomb to guard it.
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The last historical reference to Sletty is from 1055, after which the site lost importance. The two undecorated crosses date back to the monastic period, whereas the church is medieval in date, although some of the larger stones used in its construction may come from the earlier foundation: large boulders were common in early Christian construction.
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A Gromit statue prior to decoration. These undecorated statues were distributed to celebrities and artists to freely design. In the months prior to the trail, 79 blank fibreglass statues measuring in height were distributed to designers and celebrities selected by Nick Park. Each recipient was free to design their statue as they wished, producing a vast array of designs.
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Depending on the style, the brooch face (or plate) could be undecorated, simply decorated or more elaborately decorated. It would vary in size and shape. These ancient brooches can be divided into two main groups, long and circular forms. Brooches were constructed from various metals, including copper alloy, iron, silver, gold or a combination of metals.
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242-3 It is one of the most important Achaemenide treasures ever found. The burial was found within an undecorated bronze coffin, that resembles a bath tube. There was found a skeleton lying on the back. Jacques de Morgan assumed that this was the burial of a woman due to the high number of personal adornments.
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People of the Villanovan culture lived in poor huts concomitant with subsistence agriculture and owned plain and simple implements. Their simple ware is known as bucchero, plain black undecorated pots. In the 8th century BC, the orientalizing period began, a time of influx of luxuriously living Greeks. They brought their elegant pottery styles and architectural methods with them.
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The size of this ossuary was 23 feet long, 13 feet wide, and three feet deep. An estimated 41 skeletons were in this ossuary and the bones were poorly preserved. There were no European objects and few that were Indian made. The artifacts found were eight sherds, a small piece of undecorated pipestem, and a baked clay ball.
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A tower at the western end of the church was built during the Gothic period as evidenced by its foundations. During reconstruction, the nave was extended to the east and its height was also increased. The building now stands with undecorated walls and a tiled roof. Inside, both the old and new masonry has been plastered.
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The other style of Morris chair is called the "Mission" or the "Craftsman" Morris chair. The best known examples are those were first produced by Gustav Stickley in 1904 and then widely copied afterwards. These are in the American Craftsman idiom, rather than English Arts & Crafts styles. Woodwork is lightly finished and largely undecorated oak in rectangular sections.
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Interior The church's four-bay arcades have octagonal piers. The church is stone-tiled, the chancel has mosaic tiles and the walls are exposed stone. The church has an undecorated medieval tub font on a 19th- century pedestal. The pulpit dates from 1889 and of a square wooden form with centre panels with depictions of Jesus and the disciples.
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Little is known about ceiling construction, although vaulting survives in pillbox-graves - simple gabled roofs decorated with images. 3 cm thick translucent marble or alabaster sheets, sometimes with incised decoration, served as window panes. Columns were a very important structural element. Until the 5th century BC, they were undecorated monoliths with rectangular or square cross-sections.
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On the base is carved the short inscription: the king of Upper and Lower Egypt, Neferefre, for eternity.Miroslav Verner: Supplément aux sculptures de Rêneferef découvertes à Abousir, in: Le Bulletin de l’Institut français d’archéologie orientale, 86 (1987), pl. LXV, online: There is finally a fragment from the back of the throne and one other, undecorated fragment of the base.
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The off-centered axis of the impluvium served to focus the attention of visitors to the left side of the atrium where doorways to public reception rooms were located. This differentiation of space also guided attention away from the dimly illuminated utility areas of the house positioned in the right half of the atrium, the undecorated cubiculum of the ostiarius (a), with narrow stairs possibly leading to slave quarters on the upper floor, and the undecorated kitchen, latrine, and pantry (g) and (h). The pantry or storage room could have also been used as an eating area for the household slaves as well. This off-centered arrangement reflects the influence of Greek architectural designs of Hellenistic houses and palaces where visiting males were purposefully directed away from female-inhabited interior spaces.
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The building is made from ashlar with a Cotswold stone roof. The opening between the nave and north aisle consists of three bays in the 13th century style. There is an Elizabethan style panelled roof with styled bosses and the Arnold and Barrow families coat of arms. The undecorated circular font, from the 12th Century, is contained within octagonal stone with mosaic panels.
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The bay's tympanum is undecorated. The arch impost line continues as a belt course between the pavilions and forms the sills for recessed wood-framed, fixed-sashed, nine-light windows on the building's second level. The windows are divided by Doric pilasters. Fenestration at the main facade's lower level is only narrow wood-framed double-hung glazed embrasures with two-over-two sash.
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Above the white marble band, curving grooves converge at the top to a single point at the top of the arch. The unusual presence of a second and smaller mihrab - a simple undecorated niche - in an eccentric position on the west wall of the prayer hall, is explained by the controversy between Shiism and Sunnism on the correct direction of Mecca.
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Of particular note is her tea set (1956) with a hexagonal teapot and cups without handles, perfectly adapted to industrial production. Her three porcelain dinner sets (1961–1975) which she designed for Royal Copenhagen were also successful. The Capella set was undecorated, Gemina had a blue decoration without glaze while Gemma had a stamped decoration."Gertrud Vasegaard", Dansk Bibliografisk Leksikon.
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Pottery at the McKeithen site has been classified as secular, prestige, and sacred. Secular pots were undecorated, or had minimal decoration, and were all made with clay from local sources. Prestige ware was decorated with lines and dots and sometimes 'painted' with red clay. This prestige ware was found most often in the mounds, but occasionally elsewhere in the village.
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Apart from a slightly overhanging cornice at the roofline, it is plain and undecorated. A small lean-to covers part of the rear. The centrally located front door opens onto a central hall dividing two large front rooms running the length of the house to the kitchen, behind an unusual transomed doorway. There is another back room behind the kitchen.
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In the Keros-Syros phase of the Cycladic civilization, to which this piece is attributed, ceramic frying pans are very common. In addition a very few are known which are made out of marble. But the only other example made out of stone is an undecorated example first published by Nikolaos M. Kontoleon in 1972.Pat Getz-Preziosi, Frühkykladische Steingefäße.
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Jahrhunderts, S. 236. Parts of the Staufenmauer still exist today The Guldenpforte was a round, undecorated tower with a conical roof. The Katharinenpforte consisted of two simple buildings, the outer gate and a stronger, cuboid inner tower with a high slate roof, a roof bay window and a roof lantern.Das romanische Erscheinungsbild lässt eine Erbauung zumindest der drei Hauptpforten noch im 13.
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Undecorated handmade wares indicate that KNA was occupied from Middle to Late Islamic period, but they do not date the site more precisely than that. Unglazed wheel-made wares date from 13th to 15th century. Sherds from moldmade slipper lamps date to the first half of the 13th century. The glazed pottery dates back to second half of the 13th century.
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Internally, the tunnel is surfaced with undecorated cement. Two safety bays are recessed into the tunnel and wall are also concrete faced. They are located approximately one third of the way in from each portal on its left and are wide enough for two people. Weep holes are located throughout the tunnel and are colonised by small bats, including the large-footed myotis.
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The kitchen is housed in the skillion roofed northern extension. It is lined with painted vertical boards and fitted with built-in cupboards and a sink. A door and a wide servery open into the kitchen from the main hall. The hall is undecorated except for a picture of the Queen and an Australian flag that are hung at the southern end.
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The fritware of the Islamic world does not use clay, so technically falls outside these groups. Historic pottery of all these types is often grouped as either "fine" wares, relatively expensive and well- made, and following the aesthetic taste of the culture concerned, or alternatively "coarse", "popular", "folk" or "village" wares, mostly undecorated, or simply so, and often less well-made.
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Like any archaeological monument, the Züschen tomb should not be seen as isolated. It is in a close relationship with its landscape and with other sites in the area. Two further tombs, Züschen II and Züschen III are known to have existed in the area. Züschen II was 150 m northwest of the main tomb, it was generally comparable, but smaller and undecorated.
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On the 26th, in two separate engagements, they burned an Albatros D.V and drove a second one down. On 5 March 1918, they destroyed two more German aircraft in an action that saw both RFC crewmen wounded. By now, Bunting was also an ace, though an undecorated one. Oades, on the other hand, would receive a Military Cross in April for his exploits.
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The Lavant drum is small cylindrical Neolithic chalk object excavated in 1993. It is the only known analogue to the Folkton drums, discovered over a century earlier. Unlike the Folkton drums, the Lavant drum is undecorated; however, it may be that earlier markings have been worn away. The drum was associated with a sherd of Mortlake ware, which implies a Middle Neolithic date.
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The patterns and colors used are usually specific to a particular family or clan. Smaller sailing versions of the vinta used for fishing are known as "tondaan." They are usually undecorated and lack the upper prow and stern attachments. They are rigged with a mast and a sail at all times, though a temporary palau can be erected amidships if necessary.
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Tomb KV61 is an unused tomb discovered in Egypt's Valley of the Kings. At discovery, it was apparently unused and undecorated, thus its intended owner is unknown. If used, it appears the burial was later moved in its entirety to another location. KV61 is an abbreviation for the Valley of the Kings, followed by a number to designate individual tombs in the Valley.
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For example, it may have been more pleasant to drink from the undecorated black-slipped lip of a band cup, while the strong ridge underneath the rim of lip cups would have prevented spilling more effectively. Lip cups were somewhat more difficult to produce. Well-known artists of this type were Hermogenes, Glaukytes, the Centaur Painter, Neandros, Sokles and the Oakeshott Painter.
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The church has an undecorated stone exterior. The tabernacle of the apse was built in the 15th century, when the church underwent restoration and decoration by Benedetto Nobili. Later refurbishments occurred in the 17th and 18th centuries, with windows opened in the nave. A clock was added to the belltower in the 19th century, and some of the roofline merlons were added.
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Sergeants' swords were similar to those for officers, but generally had undecorated blades with a shorter ricasso. Some sergeants' swords featured a quill-point rather than the spear-point found on officers' swords. Many sergeants' swords were made by Mole of Birmingham and some by Thurkle of London. Some sergeants' swords feature a brass grip instead of the usual shark skin grip.
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This is accommodated by the cathedral ceilings on the interior. The east-facing wing is closed at its northern end with a weatherboard-clad gable addition. The courtyard open to the west is very informal in character and is used as a lunchtime gathering place. Its rendered brick is largely undecorated with painted stone, except where it caps the gable parapets.
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His son, Lü Kai (), inherited his peerage as the Marquis of Panyu ().(太平元年，年九十六卒，子凱嗣。) Sanguozhi vol. 60. Before his death, Lü Dai gave instructions that he wanted to be buried in an undecorated coffin, to be dressed in plain clothes, and have a simple funeral. Lü Kai followed all his instructions faithfully.
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It also retained elements also found in the Nagsabaran pottery in the Philippines, including stamped circles as well as the cross-in-circle motif. They carried pottery technology as far as Tonga in Polynesia. Pottery technology in Tonga, however, became reduced to undecorated plainware within only two centuries before abruptly disappearing completely by around 400 BCE. The reasons for this are still unknown.
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The term serdab is also used for a type of undecorated chamber found in many pyramids.Billing, Egyptens pyramider, 2009. Page 236 Due to the lack of inscriptions, it has been impossible to determine the ritual function of this chamber, but many Egyptologists view it as a storage space, akin with the underground storehouses in private and royal tombs of the Second Dynasty.Ägypten Die Welt der Pharaonen, 1998.
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The mosque occupies a space of about 1440 square metersOfficial signage posted outside the mosque. and is located just inside the northern city gate called Bab Guissa. This is a relatively elevated position compared to the rest of Fes el-Bali, and as a result the mosque's minaret is prominent on the northern skyline of the medina (historic city). The minaret is plain and mostly undecorated.
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The ground floor of the tower was probably occupied by the guards. There is a small entrance on the north side which is protected by the bretèche on the exterior and a murder-hole above the entrance passage. The room has a ribbed quadripartite vault in two bays springing from corbels. The corbels are undecorated but the two ceiling bosses are carved with rosettes of acanthus leaves.
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This space was reached by an elegant stone staircased with bronze lights which led down from Public Auditorium's lobby. But the exhibition space itself was uninviting. It had an asphalt floor, was undecorated, and was interrupted by more than 40 columns. Public Auditorium was considered so advanced architecturally that it became the model for similar public auditoriums in Atlantic City, New Jersey, and Philadelphia, Pennsylvania.
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The plain façade facing the main square retains the original 12th-century sandstone, with a later inserted rectangular window, replacing an earlier lancet. The remaining walls are made with irregular stone masonry from the 13th-century. The 17th-century choir connects the campanile or belltower, that holds a 12th-century crypt. The belltower is square with a belfry consisting of four undecorated, single windows.
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The Walker-Hooper site is the type site of the Grand River Focus of the Oneota Aspect, based primarily on details of the pottery. In particular, the Grand River Focus pottery tends to have more plain undecorated vessels (other than lip decoration) and handles are very rare. Punctate decoration is also particularly rare. Besides the pottery, Grand River sites are also more often associated with burial mounds.
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Much of the ground structure is undecorated, above intricately decorated. The overwhelmingly vertical decoration of the facade is granted liveliness by horizontal convexity. In his will, this bachelor called this church his beloved daughter. He also renovated the exterior renewal of the ancient Santa Maria della Pace (1656–1667), and the façade (with an unusual loggia) of Santa Maria in Via Lata (appr. 1660).
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The repeal of the Conventicle Act soon after this left the sect free to worship openly. The first chapel was opened there in 1861. Seven more chapels were built in Norwood, Shamley Green, Warnham, Lords Hill, Northchapel, Chichester and Hove. These were simple undecorated buildings, with a room where those who had walked long distances to attend could rest during the day-long Sunday worship.
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The women's lavatory is accessed through this room. The remaining rooms are functional in style with undecorated concrete walls and simple fittings. The fibrous plaster ceilings are high and large louvered windows are positioned high in the internal walls to allow airflow through the building. Two garden beds are positioned along the side of the car park close to the edge of King Street.
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It emphasizes right angles and avoids curved forms for doorways, windows, and moldings. It represents one of the earliest uses of Doric columns found in New York, using a form more slender than their ancient models. As in the second phase of construction, large undecorated ashlar blocks form the walls. The Great House contains two entertaining rooms, a drawing room and a dining room.
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One set of brooches (8.3 cm) is decorated with scalloped edges and extensive beading. Each brooch of this pair consists of an outer band that is divided into eight sections of plant and geometric shapes. The central area is ornamented with four lobes and multiple panels filled with exotic beasts and stylised plants. The backplates of each item are undecorated, and the riveted pins are intact.
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Decorated reverse Decorated reverse and view from above, 1899 The frying pan is 20.1 cm across and 28.2 cm from tip to grip. The plate has a round wall which is undecorated and projects outwards, forming the dish of the "frying pan". The incised decoration on the reverse is very deep. The entire plate, with the grips, is surrounded by a border of chip impressions.
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Khenmet was buried in a set of three containers. There was an outer, undecorated sarcophagus, next, a wooden coffin, decorated on the outside with gold foil and on the inside with hieroglyphic texts. Finally there was an inner anthropoid coffin, that was found only badly preserved. The body of Khenmet was adorned with an array of jewellery including a broad collar, armlets, and anklets.
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Common forms of excavated artifacts were cylinders and round vases. The early pots were undecorated while the later ones were carved with geometric patterns and swirling designs. Each of the pieces was also found to have axial perforations which showed that people at that time had knowledge of using tools. The second important prehistoric Thai ceramics is the Ban Kao which was in Kanchanburi Province.
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From about 5000 to 4200 BC the Merimde culture, so far only known from a large settlement site at the edge of the Western Delta, flourished in Lower Egypt. The culture has strong connections to the Faiyum A culture as well as the Levant. People lived in small huts, produced a simple undecorated pottery and had stone tools. Cattle, sheep, goats and pigs were held.
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In modern conservation treatment, the media used by conservators is reversible and can be distinguished easily from ancient material. Different conservators, or conservation departments, may have different policies regarding in- painting. Some conservators leave replacement fragments completely undecorated in order to easily distinguish them as modern additions. Some conservators paint silhouettes of missing figures, using existing fragments, scene narrative, and other extant vases as examples.
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Fukusa can also refer to several types of silk cloths used in Japanese tea ceremony. Tsukai fukusa are usually undecorated squares of silk used to ritually purify tea utensils during a temae (tea-making procedure). Those used by men are usually deep purple, while those used by women are usually red or orange. Other colours are sometimes used, as are fukusa decorated with images.
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All the earliest forms of pottery were made from clays that were fired at low temperatures, initially in pit-fires or in open bonfires. They were hand formed and undecorated. Earthenware can be fired as low as 600 °C, and is normally fired below 1200 °C. Because unglazed biscuit earthenware is porous, it has limited utility for the storage of liquids or as tableware.
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Occasionally they would wear shirts but generally they would wrap buffalo robes around their shoulders. The distinguished men of bravery would wear a necklace made of grizzly bear claws. Boys dressed much like the older males, wearing leggings, loincloths, moccasins, and occasionally an undecorated shirt. They kept warm by wearing a buffalo robe over their shoulders or over their heads if it became cold.
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The Church of the Virgin Mary is of a simple three-aisle design, with a plain, undecorated facade. The core of the church is enlivened by only four support pillars decorated with sloping roofs. In between are four rectangular windows with semicircular tops. The facade of the rearranged main entrance tower (not in use at this time) is horizontally decorated with cornices and smaller rectangular windows.
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The rex sacrorum wore a toga, the undecorated soft "shoeboot" (calceus), and carried a ceremonial axe; as a priest of archaic Roman religion, he sacrificed capite velato, with head covered.Norma Goldman, "Roman Footwear" and "Reconstructing Roman Clothing", in The World of Roman Costume (University of Wisconsin Press, 1994), pp. 125 and 216 online. The rex held a sacrifice on the Kalends of each month.
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Schifferstadt hat: Ornamental bands and respective stamped patterns The Schifferstadt Hat is a 350 g gold cone, subdivided into horizontal ornamental bands, applied in the repoussé technique. It has a blunt, undecorated tip. The shaft is short and squat, with a distinct widening and a wide brim at the bottom. The hat is 29.6 cm high and has a lower diameter of about 18 cm.
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The Aarhus-based wholesale company Holst & Knudsen (founded 1904) was a leading Danish supplier of porcelain to hardware stores across the country. The porcelain was imported from leading manufacturers in central Europe. After a while the company began to import undecorated porcelain and had it then decorated at subcontractors. One of these subcontractors was Kjøbenhavns Porcellains Maleri which was taken over by Holst & Knudsen in 1924.
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Most of the pottery found at Belle Glade culture sites is plain, undecorated (Belle Glade Plain and Glades Plain styles). Wood, bone, shell and shark tooth artifacts have been found at a few Belle Glade sites, but are too few to be used in defining the culture. Earthworks are diagnostic of the Belle Glade culture. Circular ditches appeared early in the Belle Glade culture, by 500 BCE.
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The Cades Pond culture is distinguished by its pottery and stone tools, and by the siting of its villages. Pottery found at Cades Pond sites consists primarily of large, undecorated bowls. Stone tools include hafted knives and scraping tools, perforators, triangular knives, manos and metates and sandstone abraders. Bone tools include double-pointed leisters, splinter awls, perforators, flakers, deer ulna awls, scrapers or fleshers, punches, and fids.
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A dinh, a basin supported by three legs was found, which resembled the li of China. The khay is an artefact not similar to modern implements, consistings of a low tray wide large handles, decorated with triangular figures and spiral motifs. An am found in the excavation is a rounded vessel with a spout resembling that of a kettle, was undecorated and damaged.Higham, p. 115.
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By about 1480 the chaperon was ceasing to be fashionable, but continued to be worn. The size of the bourrelet was reduced, and the patte undecorated. St Joseph could, by this stage, often be seen with the evolved form. By 1500 the evolved chaperon was definitely outmoded in Northern Europe, but the original hood form still remained a useful headgear for shepherds and peasants.
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Reeves,Wilkinson: The Complete Valley of the Kings, p. 180 (plan of tomb) The burial chamber was undecorated, as with all burial chambers of non-royals in the Valley of the King. It is 3.90 m long and 4.10 m wide.Orsenigo, In: La Valle dei Re Riscoperta, p. 220 Not much is known about Maiherpri as he does not appear in sources outside the tomb.
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Vault is cross like in the church and ribs have similar profile as the ribs in the church. Brackets in inner side of cloister are simply formed without decoration; we can also find atypical supports with vegetable motives. In the court direction the arc is supported by two columns with heads decorated by vegetable motives. In other corners pillars with undecorated heads step 10 cm in space.
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The boats are made by Sama-Bajau, Tausug and Yakan peoples living in the Sulu Archipelago, Zamboanga peninsula, and southern Mindanao. Vinta are characterized by their colorful rectangular lug sails (bukay) and bifurcated prows and sterns, which resemble the gaping mouth of a crocodile. Vinta are used as fishing vessels, cargo ships, and houseboats. Smaller undecorated versions of the vinta used for fishing are known as tondaan.
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Victoria Theatre, circa 1890s A highly decorated Victorian facade finished in smooth and modelled stucco with some classical decorative elements. The facade forms the front to a large auditorium of undecorated plain finishes. The facade consists of a ground floor, which has been altered to suit progressive tenants. The two levels above the awning is divided by deep string courses and divided into bays by pilasters.
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Gudrum Agnete Tryde Eriksen, commonly known as Gutte Eriksen, (1918–2008) was a Danish ceramist whose works were influenced by the years she spent in Japan studying Asian techniques. It is above all the specially produced glaze which is the distinguishing feature of her undecorated pottery. As a result of both her work and her teaching, she has exerted considerable influence on Danish potters.
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The game pieces in Rack 'n Roll are inflatable toroidal pool toys. There are 3 styles: Keepers, Ringers, and Spoilers. Keepers are tubes with lettering that are placed only during autonomous mode and, once placed, override any pieces placed later for scoring purposes. Ringers are undecorated tubes that are delivered onto the field either by human players via chutes, or are picked from the floor.
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Nimaethap II (also Nymaathap) was an ancient Egyptian queen, most likely living in the Fifth Dynasty. She is only known from her mastaba tomb excavated by George Andrew Reisner at Giza. Apart from a false door, the cult chambers of the mastaba were undecorated. On the false door the queen bears the titles she, who sees Horus and Seth and great one of the hetes screptre.
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Usually very little space is left undecorated; and this technique is easy to recognise. These prints ceased to be produced about 1500.Field The plates themselves may have been treated as works of art in plaque form, with printed impressions a useful by-product; in some cases inscriptions print in reverse, though others do not.Hind, I, 176-179; Field Some copper plates survive, often with nail-holes at the corners.
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According to Wythe its purpose was to make the sound "mellower and more blended." The instrument shown in this article has such a soundboard. The exterior of Graf's pianos was largely undecorated, emphasizing instead the beauty of bookmatched veneers in walnut and mahogany. (The mirror-image motif created by bookmatching is visible in the illustration above.) The natural keys were normally of ivory and the sharps of ebony.
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Up to 11 stratigraphic levels have been identified. The oldest strata belong to aceramic Neolithic, and are dated to the 8th millennium BC.Based on Spanish Wikipedia, see refs there To the 6th millennium BC, nine levels are assigned, the oldest with ceramics, that were almost entirely undecorated. Level VI is dating back to 5600 BC, and there were many activities at this time. Nine buildings were found, grouped around a square.
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It remains unknown why Band cups and Lip cups existed side by side for a considerable period. Perhaps, each variant had its own distinctive advantages. For example, it may have been more pleasant to drink from the undecorated black-slipped lip of a band cup, while the strong ridge underneath the rim of lip cups would have prevented spilling more effectively. Lip cups were somewhat more difficult to produce.
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An undecorated space which serves to connect the vestibule and chambers on the north end of the mastaba with the abutting rock-cut sections of the tomb to their south. Modern security grates now obstruct much of the full sun that would have flooded this small, walled yard, yet little or no sun fell on the vestibule to the outer rock-cut hall described below, as its entrance faces north.
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Other communities also have distinctive pottery designs and traditions. Chapatongo makes jars and jugs for water, baked only once and undecorated except for naturally discolorations which naturally happen when they are fired. San Pedro de las Ollas has a small production of water jugs and flower pots distinguished with spiral motifs in black over a polished red background. Tulancingo still has some production of majolica style pottery but it has degenerated.
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At 13 stories and high and a building area of , the building does not attempt to disguise its height, but rather accentuates it by leaving relatively undecorated mullions and pilasters. Sullivan's signature ornate floral designs decorate the base and top of the facade, and across the spandrels below the window openings. Figural sculptures of angels were added at the request of the client, Silas Alden Condict, over Sullivan's objections.
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Unstan ware typically consists of elegant shallow bowls with a band of grooved patterning below the rim, created using a technique known as "stab-and-drag". A second version consists of undecorated, round-bottomed bowls. Some of the bowls had bits of volcanic rock included in the clay to make them stronger. After firing, bone tools were used to burnish the surfaces to make them shiny and impermeable.
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Large Middle Mumun (c. 800 BCE) storage vessel unearthed from a pit-house in or near Daepyeong During the Mumun pottery period, roughly between 1500 BCE and 300 BCE, agriculture expanded, and evidence of larger-scale political structures became apparent, as villages grew and some burials became more elaborate. Megalithic tombs and dolmens throughout Korea date to this time. The pottery of the time is in a distinctive undecorated style.
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From about 5000 to 4200 BC, the Merimde culture, known only from a large settlement site at the edge of the Western Nile Delta, flourished in Lower Egypt. The culture has strong connections to the Faiyum A culture as well as the Levant. People lived in small huts, produced simple undecorated pottery, and had stone tools. Cattle, sheep, goats, and pigs were raised, and wheat, sorghum and barley were planted.
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The model railroad train is ready to be unpacked and set up at the base of the 2012 U.S. National Christmas Tree. An undecorated "state tree" is to the right. Creating the design of the National Christmas Tree and organizing the Pageant of Peace is a year-long process. In 1999, the Washington Post reported that General Electric (GE) lighting designers begin sketching plans for the lighting scheme in March.
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The Nias sword (gari) is a combat weapon; both the sword and its sheath have simple undecorated form. The most well-known of the Nias weapon is the balato or tolögu, a steel sword with a protective amulet believed to possess magical power. The balato has a hilt made of brass. The sheath of the balato contains a spherical bundle of rattan (ragö balatu) which performed as a protective amulet.
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The temple is an octagonal domed building with a nod to the Pantheon, Rome, constructed in undecorated brick with a single east-facing entrance. It was built in the Classical style popularised by the Italian architect Palladio with an Ionic portico, four columns wide by three deep, flanking the entrance. Several steps lead up to the portico. Inside, glazed arched windows reaching to the ground face the river.
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The work opens with an Allegro maestoso, characterised by a dramatic, rising forte first subject. This rising motif (a minor semitone followed by a major third jump), is a significant theme of the movement, recalled at various points throughout (including the cadenza-like passagework). The main theme is built over a chordal structure of i, bII6, viio7, i4-3, v, and VI6/4. The work has other, similarly interesting modulations, presented as undecorated chordal series.
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The church building was erected in 1338, adjacent to the Collegiata in the town. The exterior façade, made with large white stone bricks, is generally undecorated but for an ogival arch and main portal and a delicately ribbed rose window with twelve spokes. By the 17th century, the complex housed the seminary, and between 1860–1901, it housed the town Gymnasium (school). It is now part of the town's museums with occasional parish functions.
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The upper façades of buildings were decorated with precut stones mosaic-fashion, erected as facing over the core, forming elaborate compositions of long-nosed deities such as the rain god Chaac and the Principal Bird Deity. The motifs also included geometric patterns, lattices and spools, possibly influenced by styles from highland Oaxaca, outside the Maya area. In contrast, the lower façades were left undecorated. Roof combs were relatively uncommon at Puuc sites.
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Except at the base, the Graybar Building's facade was mostly undecorated. The facade was made of brick and Indiana Limestone, and the base was made of limestone. Some of the spandrels within each window contain black brick; these give the appearance of "subtle vertical bands" that contrast with the facade's more prominent portions to "accentuate the structure’s height". Toward the top of the facade adjoining Lexington Avenue are four projecting gargoyle-shaped water spouts.
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Salisbury has a similar lack of verticals while the course below the triforium and the undecorated capitals of Purbeck stone create strong visual horizontals. In the cases of Winchester, Norwich and Exeter the horizontal effect is created by the emphasis on the ridge rib of the elaborate vaults. alt=This view shows a vaulted ceiling of great complexity with many small interconnecting ribs. There are carved and gilt stone bosses wherever the ribs meet.
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In the same region, the huipil also evolved into a long flowing and sometimes voluminous head covering which frames the face. To this day, the most traditional huipils are made with hand woven cloth on a back strap loom. However, the introduction of commercial fabric made this costly and many indigenous women stopped making this fabric, or making simpler versions. By the early 1800s, women began to wear undecorated huipils or European style blouses.
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Dinner and serving plates are simpler in design. Each dinner plate has a simple, narrow band of gold on the edge and a broad, undecorated bas- relief pinwheels and fronds on the rim. The bas-relief design was taken from an Empire style china service purchased by then-Secretary of State James Madison in 1806. The bas-relief element, Andrew Pickard Morgan of Pickard China says, is unique to White House china.
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It is normally assumed that the lower social classes tended to use simple undecorated coarse wares, massive quantities of which are found in excavations. Tablewares made of perishable materials, like wood, may have been even more widespread.Boardman: Athenian Red Figure Vases: The Classical Period,1989 p. 237. Nonetheless, multiple finds of red-figure vases, usually not of the highest quality, found in settlements, prove that such vessels were used in daily life.
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Haji ware evolved in the 4th century AD (during the Tumulus period) from the Yayoi pottery of the preceding period. The ornate decorations of Yayoi pottery were replaced by a plain, undecorated style, and the shapes began to become standardized. Great amounts of this pottery were produced by dedicated craft workshops in what later became the provinces of Yamato and Kawachi, and spread from there throughout western Japan, eventually reaching the eastern provinces.“haji ware.
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With the open ring style, each end contains a hole in which a small pin or bolt is passed to join the ring. These simple brooches are often decorated with stamps or diagonal grooves, but many of this style are undecorated. The flat annular often displays a shiny surface, which is possibly the result of the brooch brushing against clothing. This glossy finish has not been observed on other early Anglo Saxon brooches.
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Sacul in Guatemala Maya ceramics are ceramics produced in the Pre-Columbian Maya culture of Mesoamerica. The vessels used different colors, sizes, and had varied purposes. Vessels for the elite could be painted with very detailed scenes, while utilitarian vessels were undecorated or much simpler. Elite pottery, usually in the form of straight-sided beakers called "vases", used for drinking chocolate, was placed in burials, giving a number of survivals in good condition.
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The first monasteries built in and around Mexico City, such as the monasteries on the slopes of Popocatepetl, had Renaissance, Plateresque, Gothic or Moorish elements, or some combination. They were relatively undecorated, with building efforts going more towards high walls and fortress features to ward off attacks.Rosas Volume 4, p.17. The construction of more elaborate churches with large quantities of religious artwork would define much of the artistic output of the colonial period.
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Notarial documents of the early 16th century suggest that a chapel dedicated to Saint Nicholas existed in the Żonqor area. This chapel formed part of the parish of St. Catherine of Żejtun, and it stood on land which belonged to Salvu Burlò. It was visited by Pietro Dusina in 1575, who found that the chapel had an altar but no door, and that it was undecorated. Burlò was ordered to install a wooden door.
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Although the vocal line is mostly undecorated, it is accompanied by a rhythmically active violin counterpoint following the circle of fifths. The obbligato line reaches a double cadence before the soprano entrance. The tenor recitative on another verse from the psalm, "" (It is fortunate for him, whose help the God of Jacob is), is quite short and is considered unremarkable. The fourth movement is a tenor aria in free verse, "" (Thousand-fold misfortune, terror).
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Undecorated Christmas trees for sale Each year, 33 to 36 million Christmas trees are produced in America, and 50 to 60 million are produced in Europe. In 1998, there were about 15,000 growers in America (a third of them "choose and cut" farms). In that same year, it was estimated that Americans spent $1.5billion on Christmas trees. By 2016 that had climbed to $2.04billion for natural trees and a further $1.86billion for artificial trees.
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The selection of wood species was important, and close-grained native hardwoods such as box, beech and sycamore were particularly favoured, with occasional use of exotics, such as lignum vitae for mallet heads. Wooden objects have survived relatively less well than those of metal or stone, and their study by archaeologists and historians has been somewhat neglected until recently. Their strongly functional and undecorated forms have, however, been highly regarded by designers and collectors.
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Large pieces of undecorated sherds were also found that may have been fragments from burial jars. Majority of the pottery decorations are associated with Sa Hyunh-Kalanay pottery. Variations of the designs (in both technical and stylistic aspects) between the pottery from Ille Cave and other sites in Dewil Valley suggests that these may have been adapted from other traded pottery. Evidence of pottery firing have also been found in the Ille cave.
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The palace has a longer façade on the Ruga (alley) degli Osei and a shorter one on the Canal Grande. The former has a portico with 37 arcades, whose ceiling, with cross vaults, is covered by frescoes, most of which are preserved in a good state. The two upper floors, divided by two thick frames, feature 37 mullioned windows with undecorated stone frames. At the top, is a notched frame in correspondence with the attic.
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Strocka's discussion of religious indications also include the niche found in the kitchen. But Allison points out that, although niches decorated with Lares-related scenes or containing small ritual sculptures have been found in a number of kitchens elsewhere in Pompeii, usually in structures without aediculae, the undecorated niches in the Casa del Principe di Napoli, as well as in other structures around Pompeii, could have served some other purpose.Allison 2004, pp. 50-51.
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List of former owners inside the gateway The asymmetrically placed gateway The four-bay median risilit and decorations on the facade date from the expansion of the building in 1773-76\. The gate was not moved when the house was expanded and is therefore not placed in the centre of the building. This has been solved by placing the gate and an undecorated window in a slightly recessed portion of the median risilit.
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The basilica has a façade in undecorated sandstone, with three bays corresponding to the interior's nave and two aisles. The central one has the main portal, surmounted by a triple mullioned window. The façade is topped by a tympanum also divided into three parts, the central one featuring a lozenge. Near the pilasters flanking the portal are two old columns, leading to the hypothesis that the church once had a portico or similar structure.
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Vodrey's pottery offered a wide array of goods, ranging from very plain to very fine, thus ensuring that customers of all income levels could afford his work. Vodrey was friendly with a number of artists from the Dublin Painting & Sketching Club, and often gave its members blanks (undecorated, unglazed pieces) so that they could decorate the pieces themselves. These finished products—often whimsically, exuberantly decorated in the Art Nouveau style—were then sold in Vodrey's store.
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Steel framed windows, undecorated brick walls, flat cantilevered concrete awnings and low pitched roofs concealed behind parapets, contribute to this aesthetic. The place is important because of its aesthetic significance. A bold modern design, the First Church of Christ Scientist, Brisbane, has aesthetic significance for its modernist architectural qualities. Abstract monumental elevations, rectangular and cubic massing, asymmetrical composition, simplicity and clarify of form, and an emphasis on horizontal lines create particular visual appeal, delight and interest.
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Remnants of the old church were incorporated in the new. The arch of the original Saxon south door was reset in the north wall, surrounding a 13th-century grave-slab. The jambs and arch are undecorated and unmoulded, but outside these are three half-shafts and half-rolls, above which are plain slabs as capitals. Above the door is a stone bearing the date 1635, when the old church was restored, and the names of the two then churchwardens.
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Some of the Pan Grave culture people, were likely the Medjay (mḏꜣ,Erman & Grapow, Wörterbuch der ägyptischen Sprache, 2, 186.1–2) arriving from the desert east of the Nile river. One feature of Pan Grave culture was burial in shallow graves. The Pan Graves and C-Group definitely interacted. Pan Grave pottery is characterized by incised lines of a more limited character than those of the C-Group, generally having interspersed undecorated spaces within the geometric schemes.
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The pottery is decorated. The southern group (30 tombs) used an impasto lid on the burial jars, left serpent-fibulae of a different-style, a razor of lunate shape and one-piece cast spears. The pottery is undecorated. Urbanization of the area probably did not begin before the start of the second half of the 8th century BC. This process most likely finished by the end of the 7th century BC, and, at its height, the city's borders enclosed .
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In 1489, a columned vestibule and octagonal sacristy, designed by Simone del Pollaiolo, known as Il Cronaca, and Giuliano da Sangallo respectively, were built to the left of the building. A door was opened up in a chapel to make the connection to the church. A Baroque baldachin with polychrome marbles was added by Giovanni Battista Caccini and Gherardo Silvani over the high altar, in 1601. The church remained undecorated until the 18th century, when the walls were plastered.
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On the right pilaster there is a star, a crescent moon and a thunderbolt to be seen. Between the moon and the thunderbolt, traces of a servered head can be made out. Similar traces are found to the left of the left pilaster, which is itself undecorated. To the right of the righthand limit of the image, a symbol has been engraved, consisting of a stand with two crescent moons on top and a ball with star.
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The German insignia on the entablature's Germania statue was accordingly replaced with those of Belgium. The next year, the U.S. Passport Agency moved to the Custom House building. In 1937, during the Great Depression, the Treasury Relief Art Project (with funds and assistance from the Works Projects Administration) commissioned a cycle of murals for the main rotunda from Reginald Marsh. The ceiling of the rotunda had been undecorated white plaster when the building was first erected.
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The keep of these Crusader castles would have had a square plan and generally be undecorated. While castles were used to hold a site and control movement of armies, in the Holy Land some key strategic positions were left unfortified. Castle architecture in the East became more complex around the late 12th and early 13th centuries after the stalemate of the Third Crusade (1189–1192). Both Christians and Muslims created fortifications, and the character of each was different.
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Film historian Thomas Schatz writes, :Narrated by Howard, who addresses the camera throughout much of the story, the bare-bones mystery plots are condensed to fit into fifteen-minute segments modeled after the format of radio episodes. The verbal exposition is so insistent that the images begin to seem redundant; the episodes truly resemble radio with pictures. Sets are undecorated. Actors appear distracted, if not anguished, as they try to hit their marks consistently in the first take.
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Apart from the proto-cuneiform tablets, Jemdet Nasr gained fame for its painted polychrome and monochrome pottery. Painted pots display both geometric motifs and depictions of animals, including birds, fish, goats, scorpions, snakes and trees. However, the majority of the pottery was undecorated, and the fact that most painted pottery seems to have come from the large central building suggests that it had a special function. Pottery forms included large jars, bowls, spouted vessels and cups.
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Silver 'oinochoe' from the "Tomb of Philip" at Vergina, accessdate=2015-06-24 Large versions in stone were sometimes used as grave markers, often carved with reliefs. In pottery, some oinochoai are "plastic", with the body formed as sculpture, usually one or more human heads. Prehistoric oenochoae were at first hand-made, unpolished, and undecorated. Low-economy oenochoae remained so, but gradually incised bands with simple motifs such as zig-zags and spirals, or burnished, monochrome surfaces, became common.
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The earliest pottery style, dated to circa 7,000 BC, were flat-bottomed wares (yunggi-mun) were decorated with relief designs, raised horizontal lines and other impressions. Jeulmun-type pottery, is typically cone-bottomed and incised with a comb-pattern appearing circa 6,000 BC in the archaeological record. This type of pottery is similar to Siberian styles. Mumun-type pottery emerged approximately 2000 BC and is characterized as large, undecorated pottery, mostly used for cooking and storage.
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The lion head horn is an undecorated silver horn that has a flaring rim and tapers down to the tip. It curves at an obtuse angle, and its lower extremity is inserted into the back of the gold lion head, and fixed with four gold rivets. The vase is not properly a rhyton, since no secondary orifice is present. A hole on the upper left canine of the lion is very small for effective pouring: it seems accidental.
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Pottery found in Cades Pond villages and middens was largely undecorated, and resembled contemporary ceramics of the St. Johns culture.Milanich 1994: 228-29 Cades Pond culture has been described as a Weeden Island culture, but St. Johns series pots always outnumbered Weeden Island pots in Cades Pond mounds, suggesting closer ties to the St. Johns culture area than to Weeden Island.Wallis 2016: 89 The influence of Weeden Island culture on Cades Pond may have weakened by 500.
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The Safety Harbor culture is defined by the presence of burial mounds with ceramics decorated with a distinctive set of designs and symbols. Ceramics found elsewhere at Safety Harbor sites (in middens and village living areas) are almost always undecorated. Major Safety Harbor sites had platform, or temple, mounds. The term "temple mound" is based on the description by members of the de Soto expedition of a temple on a constructed earthwork mound in a Safety Harbor village.
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The choir is the work of Thomas Garner (who is buried there), dedicated in 1905. The nave by Giles Gilbert Scott (c. 1923–25) remains unfinished, with its western wall in crude Lias stone standing bare and undecorated. The Lady chapel is acknowledged as one of the most complete and successful schemes of Sir Ninian Comper, with a reredos and altar furnishings incorporating medieval fragments and a reliquary containing the skull of St Thomas de Cantilupe.
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The facade is the most characteristic aspect of the building. Painted in blue and white, the colours of Freemasonry, the front stands out starkly against the undecorated sides and back of the building. The front elevation is symmetrically composed around a central entrance which consists of doorways and a porch. The porch has a gable roof at the upper level, supported on timber posts with a decorative wrought iron balustrade to the balcony which is accessed via French doors.
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Amenhotep's now lost tomb had been discovered in 1821 or 1822 and items such as the scribal palettes, the cubit rods and the jars had been removed. The tomb was possibly excavated by Nizzoli and Anastasi. The tomb appears to have been a standard New Kingdom tomb and had two subterranean chambers: an antechamber and a burial chamber. The tomb was undecorated, but a stele depicting Amenhotep and his son Ipy was likely found in the tomb.
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Nordic Ware and other vendors sell Bundt-style pans in a variety of novelty shapes. Since a toroidal cake is difficult to frost, Bundt cakes are typically either dusted with powdered sugar, drizzle-glazed, or served undecorated. Recipes specifically designed for Bundt pans often have a baked-in filling; Bundt pound cakes are also common. Since the name "Bundt" is a trademark, similar pans are often sold as "fluted tube pans" or given other similar descriptive titles.
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The Walternienburg group is recognisable by the appearance of sharply articulated handle-cups and hanging vessels with eyelets. The vessels of the Bernburg group on the other hand are rather bulbous, concave, and curved in an 's' shape. The pottery of both groups is decorated with deep incisions, which were partially filled with a white paste and thereby made to stand out. The dominant ceramic forms are decorated and undecorated bulbous handled cups, belly amphorae, funnel beakers and bowls.
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The lowest two levels of the tower are supported by undecorated stone buttresses. The lancet windows are simply highlighted with stone hood moulds, and the small wheel windows to the upper tower are encircled with stone mouldings. Two stone string courses add a simple horizontal detail to the upper tower, and highlight the roundel windows. The main entry door is a large timber door set into a pointed segmental arch opening, also with a hood mould.
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Lynchburg Presbyterian Church is a historic Presbyterian church located at South Lynchburg, Lee County, South Carolina. It was built in 1855, and is a two-story temple-form Greek Revival style building with an engaged tetrastyle portico featuring four massive stuccoed solid brick columns. The interior is primarily a single room with plaster walls and 21 foot high ceiling, undecorated except for a large circular plaster medallion in the center. It was added to the National Register of Historic Places in 2004.
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On one face of the slab is a mirror-case underlying part of an undecorated crescent and V-rod and on the other a crescent and V-rod, ornamented with scrollwork, below a decorated panel. During the 19th century the island's economy benefited from the herring fishing industryWenham, Sheena "Modern Times" in Omand (2003) p. 103. and St Margaret's Hope became the main trading centre for the South Isles. In 1890 there were 20 shops and 18 tradesmen located there.
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One unfinished shafts was dug in the courtyard. There are two other shafts guiding to undecorated burial chambers, each of them dug into the ground in the halls of the chapel. Shedid: Stil der Grabmalereien in der Zeit Amenophis' II., pl. 48 The broad hall of the chapel shows a banquet scene on the North wall, on the right side of the entrance and on the South wall, also on the right side of the entrance is depicted an offering scene.
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Cockerell received payments through 1793, amounting to £13,300, for the house, for which Hastings spent some £60,000.Norton 1963:129. In the severely undecorated elevations finished in warm golden Stanway limestone, windows are simply pierced in the ashlar masonry without even moulded surrounds. The central three-bay feature of the three-storey garden front, between projecting two-storey end ranges, is a hemicircular projection crowns by a low dome, with an order of attached columns of a rich Composite order.
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Gildan Activewear Inc. is a Canadian manufacturer of branded clothing, including undecorated blank activewear such as t-shirts, sport shirts and fleeces, which are subsequently decorated by screen printing companies with designs and logos. The company also supplies branded and private label athletic, casual, and dress socks to retail companies in the United States including Gold Toe Brands, PowerSox, SilverToe, Auro, All Pro, and the Gildan brand. The company also manufactures and distributes Under Armour and New Balance brand socks.
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The central section is dominated by the semi-circular apse, which is covered by a leaded half-dome beneath the apex of the pointed east gable. The lower stage of the apse is undecorated while the upper stage is divided into three bays by Corinthian pilasters. In each bay, an oblong window sits below a panel with carved garlands. The wall each side of the apse advances slightly from the line of the towers and is capped with a decorative scroll.
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A closet-like space shut behind an undecorated door appears inexplicably where previously there was only a blank wall. A second door appears at the end of the closet, leading to the children's room. As Navidson investigates this phenomenon, he finds that the internal measurements of the house are somehow larger than external measurements. Initially there is less than an inch of difference, but as time passes the interior of the house seems to expand while maintaining the same exterior proportions.
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Likewise the taovala for a funeral is also a huge mat, but much coarser and undecorated, woven from the rougher side of the pandanus leaf. If the wearer is of an inferior rank to the deceased, then the mat to be donned would be old, well-worn and tied in such a way as to wrap around the upper body and veil the head. The older and more torn it is, the better. All these special mats are kept as precious heirlooms.
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During the second period the site was occupied by people of the Classic Stallings culture, who used decorated pottery. The earliest, undecorated, Stallings ceramics first appeared at other sites while Stallings Island itself was unoccupied.Sassaman, Blessing, and Randall:539, 540, 551 The site represents a transitional period, in which hunter-gatherer culture was gradually replaced by more sedentary village and agriculture-based lifestyles. The island was identified as an archaeological site in 1861, and has been the subject of several scientific excavations.
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Arctomys Cave is formed in the steeply-dipping Mural Formation limestone of the Early Cambrian Gog Group. The top half of the cave (The Endless Climb) descends relatively steeply, but at a depth of about 400 metres the cave becomes more horizontal with several pools, and ends at a sump. Despite its great depth, the cave includes only five pitches up to 15m deep. Although most of the cave is undecorated, the Straw Gallery has flowstone and relatively long soda straws.
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The mihrab (niche symbolizing the direction of prayer) has the same form as most traditional Moroccan mihrabs but is relatively simple and undecorated. In the corner between the prayer hall, the courtyard, and the minaret is an ablutions room which can be entered directly from the street but which was also once accessible by a passage from the main courtyard as well. The room is centered around a rectangular water basin and is flanked by seven smaller rooms which served as latrines.
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The "Boston chair" became one of the best-known examples of a William and Mary style chair made in America. This spoon-back chair with leather-covered seat and splat featured turned front legs and a turned stretcher between them. The side and rear stretcher as well as the rear legs, however, were undecorated straight lines. The corners of the frame around the splat were usually rounded down (although not turned), and the crest was a simplified geometric or curving design.
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Access to the upper floors is either by elevators or stairwells in the corner turrets of the building. Many of the stairwells are undecorated and the plain, poured concrete contrasts with the richness of the decoration elsewhere. The terrace in front of the entrance, named Central Plaza, has a quatrefoil pond at its center, with a statue of Galatea on a Dolphin. The statue was inherited, having been bought by Phoebe Hearst when her son was temporarily short of money.
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Longquan greenware is characterized by a thick unctuous glaze of a particular bluish- green tint over an otherwise undecorated light-grey porcellaneous body that is delicately potted. Yuan Longquan celadons feature a thinner, greener glaze on larger vessels with decoration and shapes derived from Middle Eastern ceramic and metalwares. These were produced in large quantities for the Chinese export trade to Southeast Asia, the Middle East, and (during the Ming) Europe. By the Ming, however, production was notably deficient in quality.
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Grinding stones, pestles and axes of the East African Pastoral Neolithic At Elmenteitan sites, lithic assemblages are distinguished by a high percentage of long symmetrical two-edged obsidian blades which were used unmodified and also served as blanks for a great variety of smaller microlithic tools. Typical Elmenteitan artifact assemblages also include ceramic bowls and shallow stone vessels. Ceramic vessels are mainly undecorated. Several rare, but very distinctive ornamental designs such as irregular punctuation and rim millings have also been found.
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The Lion Pagoda of Kumjang Hermitage is an historic structure located in Naegang-ri, Kumgang-gun, North Korea. It is near the Saja Pagoda and Pidan Falls. Built during the Koryo Dynasty period, the pagoda is a three-storeyed granite tower standing 3.87m high, supported by four squatting lion-shaped sculptures located at each of the four corners of the podium slab. The ground floor is an undecorated stone slab, 49 cm thick and approximately 2m long on each side.
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Ipi was an Ancient Egyptian vizier of the early Middle Kingdom. His only secure attestation known today is his Theban Tomb (TT315) (MMA 516).The tomb was found in the rocks of Deir el-Bahari overlooking the funerary complex of Mentuhotep II. It consisted of a great courtyard, a corridor, a chapel and a burial chamber. The corridor and chapel were found undecorated and only the burial chamber had painted decorations, religious texts and the titles and name of Ipi on its walls.
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The ceiling above the columns is supported by wooden beam lintels which are carved with arch-like and arabesque motifs as well as Arabic inscriptions. Both levels of the gallery give access to the student accommodations, a total of 23 sleeping rooms plus 3 office rooms. On the ground floor, at the far end of the courtyard and across from the entrance, is a small prayer hall which is undecorated (or has lost its former decoration) and has a simple mihrab.
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For this, the Bronze Age artisans presumably used a charcoal fire or oven similar to those used for pottery. The temperature could only be controlled through the addition of air, using a bellows. Considering the tribologic conditions and the technical means available at the time, the production even of an undecorated golden hat would represent an immense technical achievement. In the course of their further manufacture, the golden hats were embellished with rows of radial ornamental bands, chased into the metal.
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The south entrance is entirely undecorated. The facade of the main wall, which corresponds to the interior mihrab wall, is panelled with recessed windows. The lower windows are rectangular while the upper are double arched with single arched qamariyyas, multicolored stained glass windows, mirroring them on the interior. The northern, eastern and part of the southern facades are the only ones with these windows, as they would have lined the busiest streets and as such been the most visible walls.
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The Blue Sulphur Springs Pavilion is built on a square foundation, with sides measuring 32 feet and 10 inches. The foundation is brick with stone facing. Twelve columns rest on the foundation, giving the Pavilion an open structure; the columns are of a modified Doric order and are built of brick covered in plaster. The frieze of the Pavilion is undecorated and made of clapboard, and the cornices are plain; the simplicity of the structure here reflects its shelter-like nature.
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The remainder of the package is plain white, which is a great contrast to earlier more colorful boxes. In the late 1970s, MPC issued a plethora of GM promos, particularly Chevrolet Corvettes and Camaros. A 1978 and 1979 Monte Carlo and Monza were offered. In 1981, the downsized Chevy El Camino was a promotional and Corvettes continued to be offered in the early 1980s – appearing in their simple undecorated white boxes with end flaps labeled – until AMT/Ertl took over such contracts.
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Page at Frati Cappuccini's website The church served as the city's cathedral until 1036, when the title was moved to the current Cathedral, the church of San Rufino. It has an undecorated façade divided vertically by pilasters. The entrance door is surmounted by an ogival arch and a rose window, dated 1163 and signed by one Johannes, identified by some with Giovanni da Gubbio, the architect of the Assisi Cathedral. The bell tower, built in the 14th century, is in Gothic-Romanesque style.
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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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The object is a single piece of whelk shell that has an engraving of a mammoth on one surface while the opposite side is undecorated. The shell has two small perforations along one side where a cord would have been strung so as to allow the gorget to be worn around the neck. The depiction of the mammoth is oriented horizontally, along the shell, rather than vertically as is most common. This means that when worn, the mammoth is depicted with the head facing down.
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The centre has an attic as its upper storey, topped by a blocking course with scrolled supports at each end. A design with a pediment was prepared for this front, but is thought never to have been built. Though the only decoration is the rustication on the Doric temple's pilasters, a remarkably rich effect is achieved. The northeast and northwest facades of Vanbrugh's original design were entirely undecorated, and a consequent lack of popular appeal may be the reason why they were largely destroyed in later remodelling.
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1–24, for a review of previous theories and for a full statement of the reading given here. Strobel's account is briefly restated in idem, Schottenkirche, 19–24. There are various indications that the left side, as one faces the portal, is more highly regarded than the right. Its entablature carries a rich interlace, while that at right is undecorated; the arcade in the middle zone is filled by a row of human heads, while that at right is filled with those of animals.
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With the retirement of Catharine, the office of the Superintendent fell into dormancy and the construction of new school buildings dropped sharply. The construction of the George Washington School represented a high watermark in the first 70 plus years of the school board. This period of excellent and often unusual design, for institutional structures, would not be repeated by the School Board. The late Fifty's and Sixty's, when school construction once again occurred, are particularly unremarkable period for school design as boxy, undecorated structures came into vogue.
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Part of the roof of the vestibule remains intact, so the height of the rooms of the chapel is known to have been about 5 metres. The chapel was originally clad with fine, white limestone, which was probably undecorated. This material has been almost entirely quarried away, but traces remain in the ground, from which the structure of the chapel could be reconstructed. In the ruins of the chapel, papyrus fragments of a list of offerings and an alabaster fragment of a female statue were found.
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The sanctum is separated from the anteroom by dividers (or walls with very large openings) and is slightly raised with respect to the space around it. The wall(s) of the inner sanctum are almost always tiled or of marble, but are otherwise undecorated. There are no lights – other than that of the fire itself – in the inner sanctum. In Indian-Zoroastrian (not evident in the modern buildings in Iran) tradition the temples are often designed such that direct sunlight does not enter the sanctuary.
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In a decayed wooden casket, gold was discovered which included gold bracelets, cosmetic cases, beads, and jars inscribed with Sekhemkhet's name. When the blocked wall was breached, on May 31, 1954, an unfinished and undecorated burial chamber was discovered. Inside it, lay an alabaster sarcophagus cut from a single block with a vertical lid which seemed to still be sealed. However, on June 26, 1954, after great difficulties to unblock and raise the lid, the sarcophagus was opened and to everyone's disappointment, it was empty.
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The tomb consists of a great courtyard at the hills of the El-Assasif. The tomb itself is cut into the rock and consisted of a corridor and a second corridor which goes down to the burial chamber. The first corridor was found undecorated, while the burial chamber is fully decorated with religious texts, several false doors, the depiction of an offering table and an offering list. The sarcophagus of Meru was cut into the ground of the burial chamber and also decorated on its inside.
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Azilises on horse, wearing a tunic Besides coinage, few works of art are known to indisputably represent Indo-Scythians. Indo-Scythian rulers are usually depicted on horseback in armour, but the coins of Azilises show the king in a simple, undecorated, tunic. Several Gandharan sculptures also show foreigners in soft tunics, sometimes wearing the typical Scythian cap. They stand in contrast to representations of Kushan men, who seem to wear thick, rigid, tunics, and who are generally represented in a much more simplistic manner.
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KV21 is located in a side wadi, to the north of KV19. It was discovered by Belzoni in 1817 and has recently been re-cleared by Donald P. Ryan (1989–90). The tomb is undecorated and consists of a stairwell followed by a pair of descending corridors that lead into the burial chamber, which has a single central pillar and a small side room. When discovered by Belzoni the tomb was partially blocked by a breached stone wall at the end of the first corridor.
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Meru on his stela in Turin Meru was an Ancient Egyptian official under king Mentuhotep II in the Eleventh Dynasty, around 2000 BC. Meru was overseer of sealers at the royal court and therefore one of the highest state officials. Meru is mainly known from his Theban Tomb (TT240). The tomb consists of the undecorated cult chapel and the underground burial chamber decorated with Pyramid Texts and Coffin Texts.Leonard H. Lesko: Index of the Spells on Egyptian Middle Kingdom Coffins and related Documents, Berkeley 1979 , p.
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The construction material is fieldstone, and the roof is made of shake. Internally, the church is characterised by the undecorated walls, the flat ceiling and the curious pulpit, built in 1753 on top of a medieval altar and constructed by carpenter Magnus Granlund. The latter reflects a pietist tradition within Lutheranism that places the oral sermon in the centre of the life of the church. A triumphal cross from the 12th century originally from Läby Church is currently on display at the Swedish History Museum.
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Meigle 11 is another recumbent monument and is the largest of the recumbent stones from Meigle. The long sides of the stone have deeply recessed panels with wide borders that once were decorated but are badly worn. The top of the monument is undecorated and has a wide slot at one end. One side of the stone has the sculpted images of three mounted riders accompanied by a dog, behind them is a humanoid figure with an animal's head and gripping two entwined serpents.
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The facade of the tomb is a classical distyle in antis with two pillars between two pilasters above which there is undecorated architrave containing an engraved a Hebrew inscription. Above the architrave is a Doric frieze and a cornice. The tomb's architectural style is influenced by ancient Greek architecture (two pillars with Doric capitals) as well as Nabataean influence in architecture and decorative elements (Nabataeanising was fashionable among some Judaean families),Knauf: The Nabataean connection of the Benei Ḥezir. From Hellenism to Islam, 345–351.
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The Chief Inspector at Saqqara, Mounir Basta, discovered another rock-cut tomb just south of the causeway in 1964, later excavated by Ahmed Moussa. The tombs belonged to two palace officials manicurists living during the reigns of Nyuserre Ini and Menkauhor, in the Fifth Dynasty, named Ni-ankh-khnum and Khnum-hotep. A highly decorated chapel for the tomb was discovered the following year. The chapel was located inside a unique stone mastaba that was connected to the tombs through an undecorated open court.
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A bi is a flat jade disc with a circular hole in the centre. Neolithic bi are undecorated, while those of later periods of China, like the Zhou dynasty, bear increasingly ornate surface carving (particularly in a hexagonal pattern) whose motifs represented deities associated with the sky (four directions) as well as standing for qualities and powers the wearer wanted to invoke or embody. As laboriously crafted objects, they testify to the concentration of power and resources in the hands of a small elite.
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The columns are fluted with narrow, shallow flutes that do not meet at a sharp edge but have a flat band or fillet between them. The usual number of flutes is twenty-four but there may be as many as forty- four. The base has two convex mouldings called torus, and from the late Hellenic period stood on a square plinth similar to the abacus. The architrave of the Ionic order is sometimes undecorated, but more often rises in three outwardly-stepped bands like overlapping timber planks.
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For Reyner Banham, Tange was a prime exemplar of the use of Brutalist architecture. His use of Béton brut concrete finishes in a raw and undecorated way combined with his civic projects such as the redevelopment of Tokyo Bay made him a great influence on British architects during the 1960s. Brutalist architecture has been criticised for being soulless and for promoting the exclusive use of a material that is poor at withstanding long exposures to natural weather. He received the AIA Gold Medal in 1966.
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The large pediment on the facade is supported by undecorated Tuscan- style columns and is inscribed prominently with MDCCCXI. The stained glass windows include several by the Victorian designer Charles Eamer Kempe. St John's Church became the town's new Anglican church (for the growing numbers of residents and visitors, close to the popular spa baths), succeeding St Anne's Church in Higher Buxton, which was later converted into a school. St John's initially served the parish of Fairfield until the parish of Buxton was created in 1898.
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He was one of the first to abandon the painted, Germanic-style influence in his furniture and opted for an undecorated, plain style, following more the styles of Welsh furniture making of the time. The order book he offered to his customers contained watercolor paintings of his pieces and is now in the Philadelphia Museum of Art. The record price for American folk-painted furniture was sold at Sotheby's in 1986. It was a tall case clock made in 1801 by Johannes Spitler that sold for $203,500.
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The Pórtico de la Gloria consists of an inner double-arched porch and finished with an outer western façade. The lateral archivolts were left undecorated, which might have been due to time restraints to finish the gate for the Jubilee of 1182 and formal procession of pilgrims. The pure Romanesque fabric was altered slightly and later encased with a Baroque facade. Before the facade was erected, the portico would be seen from afar and would take pilgrims up a large flight of stairs to approach it.
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There were also bangles of British and Western Scandinavian design as well as plain, undecorated fingerings of Finnish and British design, known as ring money. Khazar coin, 800 Of the 14,295 coins found, 14,200 were Islamic dirhams, four were Nordic (from Hedeby), one was Byzantine and 23 were from Persia. The earliest, a Persian coin, dates from 539 and the latest from 870. Many of the coins (as well as the bangles) had marks that may have been made when the purity of the silver was tested.
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In Bangladesh, rickshaw art is looked down upon by the elite population. The three-wheeled pedicab, more commonly known as the rickshaw, has been around since the 1940s. Initially, they were undecorated, but starting in the late 1940s, the faces of movie stars began appearing as decorative motifs on shields at the back of the rickshaws along with a variety of floral paintings. The unique trend of rickshaw art started from Rajshahi and Dhaka in Bangladesh and took its own style in each district.
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Selection of undecorated terra sigillata from La Graufesenque. The remains of the grand four ("big kiln") at La Graufesenque. La Graufesenque is an archaeological site 2 km from Millau, Aveyron, France, at the confluence of the rivers Tarn and Dourbie. As Condatomagus (market of the confluent), it was famous in the Gallo-Roman period for the production of high quality dark red terra sigillata Roman pottery, which was made in vast quantities and exported over much of the western part of the Roman Empire.
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Examples of rock cut stelae (b-f) Above the chapel, cut into the rocks, there is a block statue of Senenmut. It has always been a matter of confusion that Senenmut had two tombs. However, in the 18th Dynasty several high officials had one decorated tomb chapel and a second tomb with an underground burial chamber often not even close to the chapel. In some cases it can be assumed that they even had an undecorated burial chamber in the Valley of the Kings, while a decorated chapel closer to the fertile land.
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Artefacts located in the camp area included a large number of printed and decorated ceramics; undecorated white wares were the most common ceramic type. Decorations included standard blue "willow" pattern designs. Other ceramic items included a white porcelain tea cup handle, and two dolls - one being the torso/belly section of a small to medium-sized ceramic doll, the other being a long piece, possibly part from a doll house collection. Glass fragments were found at numerous locations across the survey area, with dark green, blue, purple and some clear fragments being the most common.
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Aside from the floor of the courtyard, which is paved with simple zellij mosaic tiles, this madrasa is essentially undecorated (in contrast with more famous madrasas in the city like the much older (14th century) Bou Inania Madrasa or the slightly more contemporary (17th century) Cherratine Madrasa). Today, the courtyard is also covered with modern light roof to keep out the rain. The galleries give access to the sleeping cells of the students. Seminars were conducted in the madrasa, and the mosque itself also hosted two teaching chairs (i.e. professors).
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Ukhhotep II is mainly known because of his tomb (B2), located in the necropolis of Meir, which was excavated in the early 20th century by British Egyptologist Aylward M. Blackman; an excavation report was published in 1915. Inside of the tomb, along the West and South walls there are many inscriptions dedicated to Osiris and Horus. The tomb is separated from that of Ukhhotep's father Senebi I (B1) only by a thin partition-wall. The tomb stands from floor to ceiling at 270 cm with a small undecorated doorway leading to the burial chamber.
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The "Murray Springs shaft wrench" appears to be a unique North American example of a similar tool made of bone and comes from the Clovis culture. It dates to about 9,000 years ago and was found in Arizona, where it is now in the Arizona State Museum. It is 259mm long and undecorated, with a simple shaft with a larger end, which has a single, rather oval, hole 25–30 mm across. Similar but smaller tools from much later Native American cultures are known, which are regarded as arrow-straighteners.
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The whole style is of the building is Palladian with some baroque influences. One feature on the principal facade shows the buildings provincial pedigree, Vanbrugh or Wren would have left the facade undecorated, or the windows interspersed by pilasters, here in rural Aylesbury the architect chose to place a humble drainpipe symmetrically between the windows, in London plumbing was discrete or hidden. The interior contained a panelled court room, and a council chamber. Almost from the moment of the building's completion, the 18th century County Hall was not large enough.
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The church has a typical Byzantine layout, being cross-in- square, with a three-aisled nave with the central aisle higher than the flanking ones. The octagonal dome was originally supported by four columns, but these were replaced in the 19th century by piers. It is a small structure, just long and wide. The walls are built exclusively of reused marble spolia, comprising undecorated masonry up to the height of the windows, and featuring a total of ninety sculptures above that; this feature makes the church unique among Byzantine sacred architecture.
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The flannel board is usually painted to depict a background scene appropriate to the story being told. Paper cutouts of characters and objects in the story are then placed on the board, and moved around, as the story unfolds. These cutouts are backed, either with flannel, or with some other substance that adheres lightly to the flannel background, such as coarse sandpaper. Plain, undecorated flannel boards can also be used as a visual aid during presentations, allowing the speaker to display and remove charts and graphs as needed.
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The ua (upper border) is plain and undecorated, and the kaupapa (main body) is usually unadorned. There are several sub-categories of kaitaka: parawai, where the aho (wefts) run horizontally; kaitaka paepaeroa, where the aho run vertically; kaitaka aronui or patea, where the aho run horizontally with tāniko bands on the sides and bottom borders; huaki, where the aho run horizontally with taniko bands on the sides and two broad taniko bands, one above the other, on the lower border; and huaki paepaeroa, which has vertical aho with double tāniko bands on the lower border.
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He led the Hoosiers to the Big Ten Conference runner-up spot in 1958 and they won the title for the first time in 1962, then again in 1968. The team topped the Big Ten championships four times in the 1970s. On top of his six conference titles, he also led the Hoosiers to the runner-up spot ten times between 1958 and 1984. He took the previously undecorated Hoosiers into NCAA Division I Men's Golf Championships competition on twelve occasions, with the team's best placing being sixth in 1974.
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Bonnanaro pottery Albucciu (Arzachena), example of proto-nuraghe Swords of the Bonnanaro culture (A2 phase) from Sant'Iroxi, Decimoputzu The Bonnanaro culture was the last evolution of the Beaker culture in Sardinia (c. 1800–1600 BC), and displayed several similarities with the contemporary Polada culture of northern Italy. These two cultures shared common features in the material culture such as undecorated pottery with axe-shaped handles. These influences may have spread to Sardinia via Corsica, where they absorbed new architectural techniques (such as cyclopean masonry) that were already widespread on the island.
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Undecorated pottery continued from the Neolithic period up until the arrival of the Bell Beaker culture with its characteristic pottery style, which is mainly found around the Ebro Valley. Building of megalithic structures continued until the Late Bronze Age. In Aquitaine, there was a notable presence of the Artenacian culture, a culture of bowmen that spread rapidly through Western France and Belgium from its homeland near the Garonne c. 2400. In the Late Bronze Age, parts of the southern Basque Country came under the influence of the pastoralist Cogotas I culture of the Iberian plateau.
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17-31 Playfair Street are good examples of the typical workers' housing and terrace style of residential development and subdivision pattern that occurred in the mid to late Victorian period in Sydney. Largely constructed for the rental market, the buildings indicate the provision of minimal space to maximise profit. With Nos. 13-15 Playfair Street, the buildings demonstrate the changes in architectural style during the 1870s and 1880s with the simple and undecorated style of the terraces of Nos. 17-31 in contrast to the slightly more decorated Nos. 13-15.
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Tropman 1993: 68 The houses show many of the typical features of the worker's terraces erected in Sydney during the middle Victorian period. Their location and current usage makes them easily accessible to the public. However, the way they have been divided confuses the visual understanding of them as houses. As a whole, the Argyle Terrace clearly demonstrates changes in architectural style which occurred during this period. The houses built between 1875-77 are of a simple, undecorated style, while terraces No.13-15, built in 1883, are quite clearly examples of the Italianate style.
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Pottery is collected from each building in the site after the 2002 survey, and can date the site with more precision. Handmade wares compose 70% of the total amount of the collected ceramic sherds. Undecorated handmade wares are 93% of handmade wares, 65% of the total amount of sherds; the remaining 7% are decorated coarse wares with geometrical decoration. For other types, 22% of the total are unglazed wheel-made wares, 28 sherds are from moldmade slipper lamps, 20 sherds are of glazed pottery, and 53 sherd are nondiagnostic.
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Reputedly, Bute insisted on the walls being undecorated as it was the only room in the castle in which he could hang his collection of family portraits. The dining room, in contrast, has a full Burgesian decorative scheme, illustrating the life of Abraham. The design was another re-using of an earlier, rejected, work; in this case for Trinity College in the United States. The decoration of this room was carried out by Charles Campbell, of Campbell, Smith & Co., a company formed largely as a result of Burges's encouragement.
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Preferred mediums generally excluded traditional canvases and church porticos and instead were the large, then- undecorated walls of Mexico's government buildings. The main goal in many of these paintings was the glorification of Mexico's pre-Hispanic past as a definition of Mexican identity. They had success in both Mexico and the United States, which brought them fame and wealth as well as Mexican and American students. Mural Sueño de una Tarde Dominical en la Alameda Central in Mexico City, featuring Rivera and Frida Kahlo standing by La Calavera Catrina.
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The shell of the palazzo, erected within eighteen months, is basically a square house containing a cloistered courtyard. A formal garden complemented the house, enclosed by colonnaded outbuildings ending in a semicircular colonnade known as the 'Esedra'. Once the shell of the building was completed, for ten years a team of plasterers, carvers and fresco painters laboured, until barely a surface in any of the loggias or salons remained undecorated. Under Romano's direction, local decorative painters such as Benedetto Pagni and Rinaldo Mantovano worked extensively on the frescos.
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Transfer printed plate using two transfers, puce and green, c. 1830, Staffordshire pottery, Enoch Wood & Co. Underglaze normally uses a transparent glaze, and therefore reveals the undecorated parts of the fired body. In porcelain these are white, but many of the imitative types, such as Delftware, have brownish earthenware bodies, which are given a white tin-glaze and either inglaze or overglaze decoration. With the English invention of creamware and other white-bodied earthenwares in the 18th century, underglaze decoration became widely used on earthenware as well as porcelain.
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By about 5000 BC pottery-making was becoming widespread across the region, and spreading out from it to neighbouring areas. Pottery making began in the 7th millennium BC. The earliest forms, which were found at the Hassuna site, were hand formed from slabs, undecorated, unglazed low-fired pots made from reddish-brown clays. Within the next millennium, wares were decorated with elaborate painted designs and natural forms, incising and burnished. The invention of the potter's wheel in Mesopotamia sometime between 6000 and 4000 BC (Ubaid period) revolutionized pottery production.
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The architrave of this temple was constructed in two courses, giving it a height of 1.19 m versus the frieze height of 0.815 m; this proportion is unusual among temples of the region, but is known from temples in Sicily. A triglyph and metope frieze is also placed along the inside of the pronaos.Schwandner wants this placement to refute the idea that triglyphs are meant to represent the ends of wooden beams. These metopes were apparently undecorated with sculpture, and there is no evidence of pedimental sculptural groups.
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On the other hand, if she is to be located closer to the Hellenistic period, parallels can be found in the poetry of Theocritus. Forty-two fragments of Corinna's poetry survive, though no complete poems of hers are known. The three most substantial fragments are preserved on pieces of papyrus discovered in Hermopolis and Oxyrhynchus in Egypt, dating to the second century AD; many of the shorter fragments survive in citations by grammarians interested in Corinna's Boeotian dialect. Corinna's language is clear, simple, and generally undecorated, and she tends to use simple metrical schemes.
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Red velvet cake is often baked as a layer cake. A layer cake (US English) or sandwich cake (UK English), also called a sandwich in UK English, is a cake consisting of multiple stacked sheets of cake, held together by frosting or another type of filling, such as jam or other preserves. Most cake recipes can be made into layer cakes; butter cakes and sponge cakes are common choices. Frequently, the cake is covered with icing, but sometimes, the sides are left undecorated, so that the filling and the number of layers are visible.
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At the time of first European contact, the Ten Thousand Islands district was part of the Calusa domain, the East Okeechobee district was occupied by the Jaega tribe, and the area of Broward and Miami-Dade counties was occupied by the Tequesta tribe. The inhabitants of the Florida Keys were called Matecumbes by the Spanish, but it is not clear how distinct they were from the Tequesta. The Glades culture is defined almost entirely on the basis of pottery. Much of the pottery throughout the Glades culture period was undecorated.
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The eastern elevation has a fire escape. The rear addition's southern elevation is an undecorated brick facade with segmental-arched first floor window and rectangular second- and third-floor windows, as well as a handicap-accessible entrance. The main building's southern elevation is mostly blocked by the rear addition, but the upper stories of the southern elevation are similar to those on the other three elevations. A flagpole and brick elevator room are atop the roof, while a brick chimney stack is at the southeast corner of the rear addition.
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The temperature could only be controlled through the addition of oxygen, using a bellows. Considering the tribologic conditions and the technical means available at the time, the production even of an undecorated Golden hat would represent an immense technical achievement. In the course of its further manufacture, the Berlin Hat was embellished with rows of radial ornamental bands, chased into the metal. To make this possible, it was probably filled with a putty or pitch based on tree resin and wax - in the Schifferstadt specimen, traces of this survived.
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Above this solid and severe facade that Lawson chose instead of the customary two or three floors, the massive blocks of stone support just one floor. This upper floor is not an obvious piano nobile, but appears, though of more delicate and simple design, to be of equal value to the floor below. The rusticated pilasters of the lower floor are continued above, but become smooth dressed stone to match the upper facade. The pilasters' capitals are Corinthian, and as at the Bank of New South Wales they support an undecorated entablature.
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The scribe who wrote the psalms also wrote a series of prayers on folios 197-211, dedicated to nine saints - the Virgin Mary, St. Michael, St. John the Baptist, St. Peter, St. John the Evangelist, St. Stephen, St. Nicholas, St. Mary Magdalene, and St. Agnes. The prayers are accompanied by paintings of the saints by a fourth illuminator trained in a Romanesque style, but his technique also shows an attempt to incorporate a Byzantine style. There are a few blank and undecorated spaces in this section of the psalter, and it may be incomplete.
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Beveled rim bowls are generally uniform in size standing roughly 10 cm tall with the mouth of the bowl being approximately 18 cm in diameter. The sides of the bowls have a straight steep angle down to a very defined base usually 9 cm in diameter. The bowls are made of low fired clay and have relatively thick walls compared to other forms of pottery of the time—making them surprisingly robust. The most unusual aspects of beveled rim bowls are that they are undecorated and found discarded in large quantities.
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The Grotto of Massabielle In contrast to the grandness of Rosary Square and the various basilicas, the grotto at Massabielle where St Bernadette's visions took place is very simple and stark. The recess of the grotto itself is undecorated, although a plain stone altar and lectern have been placed there so that Mass can be celebrated. Above the main recess is the niche where the apparitions took place and Fabisch's statue now stands. A large stand of candles next to the altar is kept burning throughout the year.
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Bridge was the one novel that probably influenced him the most (Joshua Ferris is another admirer), said it and Mr. Bridge "capture the sadness, and boredom, of the unexamined life" and praises the compassion and precision of Connell's writing. British critic Matthew Dennison (who praised the "studiedly simple, undecorated prose, with few rhetorical flourishes") compared the main character to Jan Struther's Mrs. Miniver; both inhabit "an interwar world shaped by a promise of certainties — domestic, social, cultural and sexual — which are never wholly realised and remain frustratingly elusive".
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This type of structure allowed the builders to have a wide span to cover a large open space. This new organization of the church, which allowed the congregation to gather all in a single uninterrupted space, in part reflects a more egalitarian philosophy of the Franciscan Order but also the increasing importance of preaching and sermon-giving with the Franciscan religious movement. Interior Presently the interior walls are mostly in undecorated plaster with fragments of fresco paintings from different periods. Originally the 14th century walls would typically be covered with fresco paintings.
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In Northern Germany, Netherlands, northern Poland, Denmark, and the Baltic countries local building stone was unavailable but there was a strong tradition of building in brick. The resultant style, Brick Gothic, is called "Backsteingotik" in Germany and Scandinavia and is associated with the Hanseatic League. In Italy, stone was used for fortifications, but brick was preferred for other buildings. Because of the extensive and varied deposits of marble, many buildings were faced in marble, or were left with undecorated façade so that this might be achieved at a later date.
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In Northern Germany, Netherlands, northern Poland, Denmark, and the Baltic countries local building stone was unavailable but there was a strong tradition of building in brick. The resultant style, Brick Gothic, is called "Backsteingotik" in Germany and Scandinavia and is associated with the Hanseatic League. In Italy, stone was used for fortifications, but brick was preferred for other buildings. Because of the extensive and varied deposits of marble, many buildings were faced in marble, or were left with undecorated façade so that this might be achieved at a later date.
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Tomb KV32, located in the Valley of the Kings in Egypt, is the burial site of Tia'a, the wife of Amenhotep II and mother of Thutmose IV. The tomb was discovered in 1898 by Victor Loret. It is unfinished and undecorated, and runs back some 40 metres into the mountainside. A portion of it was penetrated by workmen digging the original burial chamber in the tomb of Siptah KV47. KV32 has not yet been fully cleared or excavated, but work is underway by a team from the University of Basel's MISR Project.
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Fragment of an Unstan ware bowl. Unstan ware is the name used by archaeologists for a type of finely made and decorated Neolithic pottery from the 4th and 3rd millennia BC. Typical are elegant and distinctive shallow bowls with a band of grooved patterning below the rim,Henshall 1985, p. 88 a type of decoration which was created using a technique known as "stab-and- drag". A second version consists of undecorated, round-bottomed bowls.Laing 1974, p. 51 Some of the bowls had bits of volcanic rock included in the clay to make them stronger.
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The story begins in a tiny village, where in a small undecorated cottage, a latke is born. The latke, suffering from its immersion in heated olive oil, begins to scream and jumps out the window. It encounters a string of flashing colored lights, which do not appreciate the latke's shrieks and wonder why it was thrown into a pan of boiling oil. The latke explains that the oil is a reminder of "the oil used to rededicate the temple following the defeat of Antiochus at the hands of the Maccabees".
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There are as many types of theaters as there are types of performance. Theaters may be built specifically for a certain types of productions, they may serve for more general performance needs or they may be adapted or converted for use as a theater. They may range from open-air amphitheaters to ornate, cathedral-like structures to simple, undecorated rooms or black box theaters. Some theaters may have a fixed performing area (in most theaters this is known as the stage), while some theaters, such as "black box theaters", may not.
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The Waterloo Vase is a stone urn, fashioned from a single piece of Carrara marble. Since 1906, it has been used as a garden ornament in the garden of Buckingham Palace, London. Emperor Napoleon I of France, passing through Tuscany on his journey to the Russian front, was shown a single massive block of marble; he asked for it to be preserved. It is thought that Napoleon may have ordered it to be roughly hewn into the present urn shape, leaving the panels undecorated in readiness to commemorate his expected victories.
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The doorway was decorated with bands lined with a large Bead and reel pattern. Above the door was a painted Cymatium, which supported a smooth undecorated lintel. The cella was divided into two parts by a row of five columns which were in line with the columns of the facade. The columns in the centre of the room rise to a height of 5.4 to 6.46 metres, but despite the different heights they all have the same diameter at ground level (50 cm) - in violation of the norms of archaic rules of proportion.
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27 The Hoysala emblem (the sculpture of a legendary warrior "Sala" fighting a lion) is mounted atop one of the Sukanasi. Of the four towers, three are undecorated and they look stepped pyramidal with a pile of dented horizontal mouldings with the kalasa on top. The fourth tower is very well decorated (which is typical of Hoysala designs) and this is the tower of the main shrine that houses the Lakshmi Devi image. Doorjamb and lintel relief decoration in Lakshmidevi temple at Doddagaddavalli The mantapa is open and square.
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Other pottery is wheel-made, largely undecorated, but often with a glossy black glaze and crude designs in bright red. The Palestinian Association for Cultural Exchange (PACE) has put together a collection of traditional pottery, including cooking pots, jugs, mugs and plates that are manufactured by men and women from historic villages like al-Jib (Gibeon), Beitin (Bethel) and Senjel. They are handmade and fired in open, charcoal- fueled kilns as in ancient times. Palestinian ceramics are produced at traditional family-owned factories in Hebron and other cities.
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It was named "Orduönü Mescidi" in Turkish, meaning "the masjid of the front of the army encampment". Later during the Ottoman rule, a new mosque was built instead of the former Carmelite church. The construction date of this mosque varies: some sources put its construction at 1690-91, attributed to "Kıncı (Kılıç) Ali Pasha", while some place it at 1820-24, attributed to an "Ali Pasha". This mosque had traditional Ottoman architecture in the interior; it had a roof that was supported by two sharp arches and an undecorated minaret.
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However, Vanbrugh's design was not completed: the West Wing was built in a contrasting Palladian style to a design by the 3rd Earl's son-in-law, Sir Thomas Robinson. The new wing remained incomplete, with no first floor or roof, at the death of the 4th Earl in 1758; although a roof had been added, the interior remained undecorated by the death of Robinson in 1777. Rooms were completed stage by stage over the following decades, but the whole was not completed until 1811 under Charles Heathcote Tatham.
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Examples include the Gare du Nord railway station by Jacques Ignace Hittorff, the Church of Saint Augustin by Victor Baltard, and particularly the iron-framed structures of the market of Les Halles and the reading room of the Bibliothèque nationale in Paris, both also by Victor Baltard. A basic principle of Napoleon III interior decoration was leave no space undecorated. Another principle was polychromy, an abundance of color obtained by using colored marble, malachite, onyx, porphyry, mosaics, and silver or gold plated bronze. Wood panelling was often encrusted with rare and exotic woods, or darkened to resemble ebony.
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Detail of decoration from KV2 The majority of the royal tombs were decorated with religious texts and images. The early tombs were decorated with scenes from Amduat ('That Which is in the Underworld'), which describes the journey of the sun god through the twelve hours of the night. From the time of Horemheb, tombs were decorated with the Book of Gates, which shows the sun god passing through the twelve gates that divide the nighttime and ensures the tomb owner's own safe passage through the night. These earliest tombs were generally sparsely decorated, and those of a non-royal nature were totally undecorated.
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The San Ciriaco culture was a late Neolithic culture that appeared in Sardinia around 3400 BC and lasted until 3200 B.C.. It is named after a locality in the territory of Terralba, in the province of Oristano. The economy of the San Ciriaco people was predominantly agricultural. San Ciriaco ceramics are of a good quality, undecorated and of red-brown or gray and yellow color. They worshipped the Mother Goddess, whose cult is evidenced by the presence in the burials of statuettes in the "volumetric style", and for the first time appears the symbolism of the Taurus (bull's horns).
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The façade of the church has an undecorated arched door; above that is a rectangular coral window set in a niche surrounded by small pilasters. Above that, there is a classic clock dating from the latter part of the 19th century. To the rear of the church, there is a bell tower which appears to have been built later than the church, although it is in the same style. The cloister is simple and austere, without luxury or decorations, in sharp contrast to the public areas of the church, tower, open chapel, and capillas posas used for unbaptized Indigenous.
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The central bay has a canted bay window surmounted by a stone balustrade with foliage decoration and cross-shaped openings. The flanking bays each have a single window, and all three windows to the front face have stone mullions and transoms and hexagonal-latticed lights. The main entrance is in a gabled porch attached to the St Anne's Lane (left) face; the doorway, reached by a short flight of stone steps, is undecorated and has a stone top. The sides of the Welsh Row face and the edges of the central bay have decorative stone quoins.
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On the Fulton Street side, the westernmost three bays comprise a tower whose facade consists of an ornate three-story base and a relatively undecorated 22-story granite shaft. The base contains two garage openings on the first floor; two pairs of bronze-framed windows on the second floor, with each pair separated by an Ionic column; and a colonnade on the third floor, articulated by vertical pilasters that contain various decorations. The top stories are flanked by Ionic columns. The roof of this tower is a pyramidal crown inspired by contemporary renderings of the Mausoleum at Halicarnassus.
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Some speculate that the columns were placed behind the speaker's platform, while others maintain that the columns were located on the Rostra. The columns would have had white marble bases with carved relief on all four sides. Fragments of columns that are presumed to have belonged to this monument suggest undecorated monoliths of pink Aswan granite topped with porphyry statues. All of the statues would have been more than life-sized, at 2.5 to 2.8 meters each, with the four rulers atop columns 36 Roman Feet-tall, and Jupiter's column at the center would have been 40 RF high.
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The cloister is on a quadrangular plan, whose sides, of different lengths, correspond to different, successive ages and construction styles (12th-15th centuries). The oldest sector, on the south, shows the original, sober Romanesque-Cistercian canons: it has three spans formed by three piers, with three rounded arcades supported by columns with undecorated capitals. The eastern wing is also in Romanesque style (early 13th century), and has five spans divided by four pilasters, The arcades form triple mullioned windows with, in the mullions, small rose windows with decoration in Arabic style. The capitals of the columns have vegetable motifs.
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Just to the north of the city, off its northeast corner at the end of buria (matting) bazaar, there is a shrine dedicated to a saint who lived in Kandahar more than 300 years ago. The grave of Hazratji Baba, long to signify his greatness, but otherwise covered solely by rock chips, is undecorated save for tall pennants at its head. A monument to Islamic martyrs stands in the center of Kandahar's main square, called Da Shahidanu Chawk, which was built in the 1940s. Ancient city of Old Kandahar (red) and Chilzina mountainous outcrop (blue) on the western side of Kandahar.
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The northeast and northwest facades of Vanbrugh's original design were entirely undecorated, and a consequent lack of popular appeal may be the reason why they were largely destroyed in later remodelling.Gomme, Jenner and Bryan, p. 110 Vanbrugh's northwest facade consisted of a single flat surface, in which a Venetian window on each floor filled the central space between two shallow projections. Perhaps to improve the view down to Avonmouth, the centre was remodelled by Mylne with a canted bay window, at odds with the tautness of Vanbrugh's overall design of the house, in which all planes were parallel or perpendicular to the walls.
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The image from Cleveland show large areas of the undecorated glass missing, that are present in Weitzmann's black-and-white photo. The Greek drinking toast ZHCAIC given in Latin letters as ZESES, meaning "live!" or "may you live", is a very common part of inscriptions on gold glass,Weitzmann nos. 388, and 347–348 etc; Lutraan, 53 and sometimes the only inscription.Bowl Base with Miracle Scenes, Metropolitan Museum of Art (16.174.2) It is more common than the Latin equivalent VIVAS, probably because it was considered more refined, somewhat like the modern "bon appétit" used in English.
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Some Archaic artifacts have been found in the region later occupied by the Calusa, including one site classified as early Archaic, and dated prior to 5000 BC. There is evidence that the people intensively exploited Charlotte Harbor aquatic resources before 3500 BC. Undecorated pottery belonging to the early Glades culture appeared in the region around 500 BC. Pottery distinct from the Glades tradition developed in the region around AD 500, marking the beginning of the Caloosahatchee culture. This lasted until about 1750, and included the historic Calusa people. By 880, a complex society had developed with high population densities.
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The lowest part of the belly was made of undecorated impure silver. The thighs had skin or flesh colour and the legs below the knees were made of wood. Rauðúlfr interpreted the dream vision as the successive reigns of kings of Norway down from the reign of Olav, who represented the golden head and the glory of Heaven, to about 1155 when the reign had been divided (the legs). By a series of ingenious puns Rauðúlfr linked the character of each of King Olav's successors (or their reign) with the material or decoration of the corresponding part of the crucifix.
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As in other Weeden Island areas, there is a difference between ceremonial/prestige pottery, found primarily in burial mounds, and the utilitarian pottery found in village sites and shell middens. The prevalence of undecorated pottery and the lack of major excavations means that the chronology of the Weeden Island culture in the north peninsular Gulf coast is poorly understood. The Weeden Island culture was not uniform over the north peninsular Gulf coast. Ceramics related to the Swift Creek culture are found scattered at early sites throughout the area, but particularly so in Taylor County, the northernmost part of the region.
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Most notable of these were the SGIO Building including the SGIO Theatre (now Suncorp Metway Plaza) and head offices for three of the big four banks. The MLC building, designed in 1955 with Bates Smart, was one of the first commercial office buildings to be built in the undecorated, modern style in Brisbane. In 2017 a book titled Conrad Gargett was published, detailing the history of the firm between 1890 and 2015. The book was edited by Robert Riddel and attempts to provide a broader historical and architectural context to the various phases in which the practice has operated.
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A Mi-se dish from Famen Temple A particularly refined form of Yue ware is the Mi-se Yue ware (, or , "Secret color Yue ware") found in the Famen Temple and dated to the 9th century. This ware was undecorated but characterized by a smooth and thin glaze of a light color, either yellowish green or bluish green. Yue plate, Zhejiang, 10th century. Korean celadons were thought to be influenced by Yue ware by the 11th century, and displayed a bluer glaze through the use of low-iron and low-titania lime glazes, closer to the eutectic ideal.
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These findings suggest that the mound and village were mainly occupied during one period. However, other pottery sherds indicate sporadic occupation in earlier times. Other pottery found at the site includes Lamar Plain Pottery and Lamar Bold Incised Pottery; both of these pottery types were made at the same time as Lamar Complicated Stamped Pottery. There is far more undecorated, or Lamar Plain, pottery at the site then is usually present at similar sites dating to the same period. Caldwell reported the dimensions of the large mound in 1948 as being 118 by 35 ft and 4 ft high.
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Chrysopidae lacewing larvae decorate themselves with a mixture of materials including moulted cuticle and their own droppings, which appears to serve both to camouflage the larvae and to repel predators. Larvae of species that eat aphids decorate themselves with the waxy material produced by the aphids; larvae decorated like this are ignored by ants which farm the aphids, whereas the ants eject undecorated larvae, making this a wolf in sheep's clothing strategy of aggressive mimicry. The strategy has been used by traditional human hunters, such as when Australian aborigines dressed in emu skins and adopted emu-like postures to hunt these birds.
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All horns are undecorated with very slight tapering towards the finial. All lion heads are quite large (up to three times as big as the VBC exemplar), and show the same stylistic features, chiselled details, and rings on the point of their junction with the horn. None of them is a rhyton stricto sensu, since they are not supplied with a secondary orifice. Consequently, they are supposed to have been made in the same pre-Achaemenid western Iranian workshop, possibly in the second half of the 7th century BC.Although their authenticity is not questioned by Ebbinghaus 1998, or nor by Manassero 2008 (p.
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Mshatta Facade The Mshatta Facade is the decorated part of the facade of the 8th-century Umayyad residential palace of Qasr Mshatta, one of the Desert Castles of Jordan, which is now installed in the south wing of the Pergamon Museum in Berlin, Germany. It is part of the permanent exhibition of the Pergamon Museum of Islamic Art dedicated to Islamic art from the 8th to the 19th centuries. This was only a relatively small section of the full length of the facade, surrounding the main entrance; most of the wall was undecorated and remains in situ.
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The pottery was coarse, with flint inclusions, and was found associated with flint flakes, leading Maud Cunnington to suggest that the people who used the pottery may have been Neolithic, though she concluded that the inability to tell undecorated pottery of the Bronze Age and Neolithic periods apart meant that it was not possible to confidently assign a period.Cunnington (1912), p. 50.Cunnington (1912), pp. 56–57. The Cunningtons found several flint-knapping clusters, including one group of seventy-two flint chips deep in the ditch.Cunnington (1912), pp. 61–62.Whittle, Bayliss & Healy (2015), pp. 97–98.
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The term Minyan Ware refers to any grey-to-black, burnished, undecorated pottery of simple shapes, such as bowls, of any time or location. Now that the non-destructive scientific ability exists to analyze the clay and identify the clay beds by the composition of the pots, "Minyan Ware" is further qualified by an adjective stating its provenience; hence "Anatolian Minyan Ware," which can only have been made in Anatolia. or Anatolian Grey Ware. After the abandonment of the city, the ware appears in the highlands, leading Blegen to conjecture that the Trojans gradually withdrew in that direction.
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Two had stone gatehouses on one side of the entrance, while the third, the center gate, only had oak trees around the road, and led to the principle driveway to the stables and mansion. The main entrance gate has an old milestone within the wall, reading "Thirty miles from City Hall, New York City". One entrance had a swinging metal gate on two granite posts, next to a relatively undecorated gatehouse. The drive from the gate to the house took a visitor along a slightly ascending and winding road, through a grove of elms, to the east of Rockwood Hall.
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During the 41 years in between excavating and the 1955 study re-examining the remains from Jebel Moya, a significant amount of material was lost due to poor storage conditions. Materials from Jebel Moya had been shipped to a depot in Maryleborne, and a warehouse in Dartford, London. The Dartford warehouse flooded in 1928; surviving materials, along with the Maryleborne materials, were shipped to Stamore in Middlesex, where Addison and his assistant L. P. Kirwan began their work, in 1937. During this time, undecorated pottery sherds were discarded as waste, as they were (falsely) considered to lack any diagnostic properties.
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Nylund created a few thousand unique pieces at Bing & Gröndahl. Gunnar Nylund was renowned for his revolutionary stoneware in matte glazes and novel colors, and also for the mass production that Nylund & Krebs started in Patrick Nordström's workshop, which they later took over. Prior to a major exhibition in 1930 at Bo in Copenhagen, they launched SAXBO, a groundbreaking Nordic series of iconic stoneware, mostly undecorated in matte glazes and novel colors. The SAXBO stoneware generated a lot of attention at a Svenskt Tenn exhibition, the same year that Nylund was recruited to Rörstrand, at that time owned by Arabia.
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The access to the cistern within the castle The castle is situated in an isolate, urban area, implanted on a rocky, hilltop and granite range that is part of the Serra de Serigo. The landscape is accessible by a frontal square by large granite landings and staircase and urbanized portions of Penedono that extend to the south and west. The square allows access to the town pillory and the old building of the municipal council (). The polygonal plan forms an irregular heptagon, with a perimeter, encircled by an undecorated, low barbican that accompanies the same elevation of the rocky hilltop.
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The exterior is rather undecorated, with stone walls and the portals surmounted by tympani. The bell tower, although reduced in height, survives from the Romanesque building. It has a Roman head embedded in its walls, popularly known as Berta The interior is simple with a nave and two aisles, ogival arches and groin vaults. Artworks include frescoes by Bernardino Poccetti (Histories of St. Zenobius in the vault), a Nativity by Matteo Rosselli, and, above the altar of the left transept chapel, a polychromed stucco relief panel, the Madonna del Carmelo, long attributed to the 13th century artist, Coppo di Marcovaldo.
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After many years of austere life in this place, Fiacc was led by angelic command to remove to the west of the Barrow, for there "he would find the place of his resurrection". The legends state that he was directed to build his oratory where he should meet a hind, his refectory where he should find a boar. He consulted Patrick, the latter fixed the site of his new church at Sletty -- "the highland"—a mile and a half northwest of Carlow. This foundation does not survive, but a medieval church and two undecorated crosses do.
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Fix brewery and was originally twice as long as it is now. Already since 1949, the completion of the Greek Air Force Assistance Fund building on Akadimias Street, which was designed in 1947 by Thoukydidis Valentis, showed the course that most office buildings in central Athens would follow. The building is completely undecorated with a subtly visible concrete frame in the form of a grid, and has many Corbusian principles such as the ground floor pilotis. Valentis had a consistent ideology behind the design principles of office buildings concerning practicality and aesthetics which he later in 1960 wrote down in Architektoniki [Architecture] review.
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Artwork such as pendants and beads from ostrich eggshell fragments have been found at several places. Of the items of daily use charcoal and bone fragments have been excavated as well as undecorated pottery fragments, although the pottery might have originated from early farmers rather than the Stone Age culture that produced the rock art. The archaeological value of the site does not compare with its importance as rock art collection. The findings do, however, support the shamanist origin of the engravings because food remains from the site proved to be bones of small antelope, rock dassie and even lizards rather than the large species depicted.
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Initially all South African military orders, decorations and medals were minted by the South African Mint, but with effect from c. 1980, the manufacturing of all new awards as well as the further production of older awards were put out to tender by private enterprises. Since the tooling of the older awards was retained by the Mint, private manufacturers had to manufacture their own tooling, which resulted in several variations in appearance. Poor quality control and cost cutting by manufacturers resulted in the acceptance and award of a large number of medals which were only 2 millimetres thick, with no raised rim and an undecorated ribbon suspender on the reverse.
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The St Kilda town hall was commissioned to replace an earlier 1859 building on the corner of Grey and Barkly Streets. This site was reserved in 1883, selected in 1887, and an elaborate towered design by architect William Pitt in an ornate Second Empire style won a limited competition in 1888. The building opened in 1890, but in incomplete form, with only the hall, the front wing and Carlisle Street wings built, the brick walls left unrendered and undecorated, and the portico and tower not built. In 1892, instead of completing the building, a large pipe organ by noted firm George Fincham was installed in the hall.
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Its plan is that of a simple rectangle, divided into two bays on the ends and five on the front and rear, with the main entrance in the middle bay of the facade. The ends rise to gables, and elements such as gable returns and an undecorated frieze produce a Greek Revival appearance. The original structure was modified circa 1880, when a shed-roofed wooden porch was constructed; it bears its own ornamentation, including a bracketed frieze and a spindled railing. Gleason and his wife Charlotte settled in present-day Valley View in an unknown year, although his first appearance in the tax records dates from 1843.
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The surrounding district was known as the Appin of Dull, the name deriving from Old Irish apdaine ("abbacy") referring to the former monastic estate, as with Appin in Argyll, the abbey lands in that case being those of the major early Christian monastery of Lismore. Four undecorated crosses, of which three survive, one at Dull itself, and two in the nearby old church at Weem, once stood around the monastic precinct, defining an area of sanctuary. From the later Middle Ages to modern times, the church at Dull was a parish church in the Diocese of Dunkeld. It is not known when the early Christian monastery ceased to function.
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Only a few examples of staircase towers have survived from ancient times (e.g. on the Imperial Baths in Trier); staircases were often superfluous on the only single-storey buildings or were built into the outer walls of buildings that were often several feet thick. This tradition continued in the keeps (donjons), churches and castles of the early and high Middle Ages; and this situation only changed with the increasing construction of purpose-built and generally rather undecorated staircase towers of the High and Late Middle Ages (Romanesque and Gothic architecture styles). Since the Renaissance period, staircase towers were markedly more decorative and representative of status.
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Battie, 153 The quality of wares was in decline by the late 1820s, when unsuccessful attempts began to revive the factory by producing cheaper wares from lower- quality materials, decorators paid on piecework, and some use of printed transfer. All were counter-productive, and production continued to reduce, although some high-quality pieces were produced until the end.Falke, 49–53; Battie, 153 Some moulds and undecorated fired "blanks" were bought by other factories, including Herend, and added to the considerable volume of imitations, "replicas" and downright forgeries that have copied Vienna porcelain. Other genuine Vienna pieces had their decoration scraped off to be repainted in a more elaborate style.
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The North side of the monument features more imagery of lions, in a position of caring for young, as a lion interacts with her cubs. The carving technique used in this relief is similar to the one used on the South side of the frieze, with the details and outline of the form delineated by use of line. While the lion on the South side has weight and mass, the lion on the east side has a thinner form. On the east side of the monument, the composition is broken up into registers, the lower half remaining undecorated and the upper half most likely containing a low relief frieze.
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The Terraces at Nos. 13-15 Playfair Street demonstrate the changes in architectural style during the 1880s with the simple Italianate decoration of the front façade in contrast with the simple and undecorated style of the adjacent terraces constructed during the 1870s (Nos. 17-31). Despite the demolition of the rear wings and some internal walls and features the terraces retain a sense of their original two room configuration on each floor, original spatial qualities and simplicity of the interior and lack of decoration, expected for speculative type development. The terraces are prominent elements in the Playfair streetscape primarily due to their smaller scale and location.
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His marriage to Anna Ancher did, however, introduce him to the naturalistic concept of undecorated reproduction of reality and its colours. By combining the pictorial composition of his youth with the teachings of naturalism, Michael Ancher created what has been called modern monumental figurative art, such as A Baptism.Michael Ancher (Skagens Museum) A stroll on the beach Among other places, the works of Anna and Michael Ancher can be seen at the Skagens Museum, Statens Museum for Kunst, the Frederiksborg Museum, The Hirschsprung Collection, and Ribe Art Museum. Michael Ancher received the Eckersberg Medal in 1889 and in 1894 the Order of the Dannebrog.
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1500-1250 BC), when small-scale shifting cultivation ("slash-and-burn") was practiced in addition to a variety of other subsistence strategies. The Late Jeulmun is roughly contemporaneous with Lower Xiajiadian culture in Liaoning, China. Archaeologists have suggested that Bangudae and Cheonjeon-ri, a substantial group of petroglyph panels in Ulsan, may date to this sub-period, but this is the subject of some debate. Kim Jangsuk suggests that the hunter-gatherer-cultivators of the Late Jeulmun were gradually displaced from their "resource patches" by a new group with superior slash-and-burn cultivation technology and who migrated south with Mumun or undecorated pottery (Hangeul: 무문토기; Hanja: 無文土器).
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Towards the rear facing Hubert St, the building, assumes a more domestic character, with a prominent and richly detailed awning, a separate, smaller hipped roof, and a chimney which rises above the roof line. The southern (rear) frontage has a deep timber verandah, and the western frontage overlooking the service lane is unrendered and undecorated. The building has deep eaves with shaped rafter ends. The two street-facing elevations have horizontal tripartite ornamentation, comprising: a square-snecked rubble stone plinth; cement string course to ground floor sill level; course aggregate rendered walls to the piano nobile; and unrendered brickwork expressed as pilasters above a first floor string course.
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The cluster of factories in the south were generally the most innovative, while Strasbourg and other centres near the Rhine were much influenced by German porcelain. The products of faience manufactories are identified by the usual methods of ceramic connoisseurship: the character of the clay body, the character and palette of the glaze, and the style of decoration, faïence blanche being left in its undecorated fired white slip. Faïence parlante (especially from Nevers) bears mottoes often on decorative labels or banners. Apothecary wares, including albarelli, can bear the names of their intended contents, generally in Latin and often so abbreviated to be unrecognizable to the untutored eye.
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The middle room, which was used for offerings, and the sanctuary of Isis at the rear of the temple are undecorated but for reliefs on the door frame and backwall of the sanctuary. The latter shows Pihor and Pedesi as young gods worshiping Isis and Osiris respectively. The temple house is modest but well executed in design with two front columns, an offering hall and a sanctuary with a statue niche. A crypt was also built into the rear wall while a rock chamber in the nearby cliffs may have represented the tombs of Pediese and Pihor who were said to have drowned in the Nile river.
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Southern Tomb 11 is an ancient sepulchre located at Amarna, Egypt. It was used for the burial of Ramose (General), whose titles included, "Royal scribe, Commander of troops of the Lord of the Two Lands, Steward of Nebmaatra (Amenhotep III)". It is unknown whether he was the same person as the Vizier Ramose whose Theban tomb is TT55, but it seems unlikely because they have different titles and the names of their wives do not agree.N. de G. Davies, The rock tombs of El-Amarna, Parts III and IV, 1905 (Reprinted 2004), The Egypt Exploration Society, The tomb is small and the main body is undecorated.
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The Dr. Philip Weintraub House is an early modern single-family house in the Hollywood Park neighborhood of Chicago, Illinois. Located at 3252 W. Victoria Street, the home was built in 1940 by architect Andrew Nicholas Rebori (1886-1966) and artist Edgar Miller (1899-1993) for Philip Weintraub. The house is built in the International Style with an asymmetric shape, smooth undecorated siding, and flat roofs with a rooftop terrace. Inside there are elements of Art Moderne including rounded edges on walls and the fireplace, recessed cove lighting, built-in cabinets, a glass-block wall in the bathroom, and a round window by the front entrance.
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Built in 1883, located right next to his earlier National Bank, this is also Neoclassical in design, its limestone facade dominated by a great six-columned, unpedimented portico. The columns in the Corinthian order support a divided entablature; the lower section or architrave bears the inscription "Bank of New South Wales", while above the frieze remains undecorated. The building, while not jarring, has less architectural merit than the National Bank building, even though it was originally intended to be more classical and impressive than its neighbour. The imposing effect the architect sought is lessened at ground level where the portico's columns are linked by a balustrade.
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The pattern connected the central portal of the Basilica with the centre of the western opening into the piazza. This line more closely parallels the façade of the Procuratie Vecchie, leaving a nearly triangular space adjacent to the Procuratie Nuove with its wider end closed off by the Campanile. The pattern continued past the campanile, stopping at a line connecting the three large flagpoles and leaving the space immediately in front of the Basilica undecorated. A smaller version of the same pattern in the Piazzetta paralleled Sansovino's Library, leaving a narrow trapezoid adjacent to the Doge's palace with the wide end closed off by the southwest corner of the Basilica.
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There are as many types of theaters as there are types of performance. Theaters may be built specifically for a certain types of productions, they may serve for more general performance needs or they may be adapted or converted for use as a theater. They may range from open-air amphitheaters to ornate, cathedral-like structures to simple, undecorated rooms or black box theaters. Some theaters may have a fixed acting area (in most theaters this is known as the stage), while some theaters, such as black box theaters, may not, allowing the director and designers to construct an acting area suitable for the production.
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This set includes a "mother and child" salt and pepper shakers, and a baby oil pourer that exemplify her organic, curving forms. In 1942, Zeisel was commissioned by the Museum of Modern Art and Castleton China to design a set of modern, porcelain, undecorated china that would be worthy of exhibition at MoMA, to be produced for sale by Castleton. The resulting exhibition, "New Shapes in Modern China Designed by Eva Zeisel," ran from April 17 to June 9, 1946, and was the first one-woman exhibition at MoMA. It was received with wide praise, but because of wartime constraints the porcelain dishware did not go into production until 1949.
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Among the undecorated ceramics are some fragments of large containers used for the storage of victuals (pithoi), mortars, pans and dishes. Specimens of ceramics with geometrical decoration were also discovered, both hand-formed and wheel-made, including bowls, amphoras and jugs. The materials found inside the houses (including filters, commonly-used ceramics and, above all, glazed pottery), as concerning the clay, show that there was an evolution of refinement in production, fictile material and firing, leading to more elegant types of vases, even though the aesthetics of the ceramics were not especially important to those who used them, their rural life being mainly concerned with purely essential matters.
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The chancel arch dates to about 1340 and is similar in design to the tower arch but is more finely moulded, while the chancel's wagon roof is 19th century.Doubleday, A.H., The Victoria History of the County of Hertford, (1923)Nikolaus Pevsner and Bridget Cherry, The Buildings of England: Hertfordshire, (1977) The chancel arch shows traces of where at one time a rood screen was fixed across the archway, but this was presumably destroyed centuries ago. The large and undecorated baptismal font is 14th or 15th century in date and has shields carved in the recesses on its shaft. The communion rails are 17th century with square tapering balusters.
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Initial version of the certificate of the Lint voor Verwonding, awarded to Luitenant I.J. Meyer of the ZAR forces Later version of the certificate of the Lint voor Verwonding, awarded to Burger W. Kool of the ZAR forces The Lint voor Verwonding was issued with a printed certificate. The initial version was a plain undecorated certificate, filled out by hand, showing the rank and name of the recipient and the Republican Force with which he had served. It also included the recipient's file number at top left of the document. The later type of certificate was decorated with a full colour reproduction of the riband.
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Internally, the Masonic Hall of the Maitland Lodge of Unity conforms to the measurements, principles and proportions of double cube construction which is the principle of freemasonry design. The lodge building includes two spaces: a simply designed and largely undecorated ante room that leads to a more ornately decorated temple room. Decorated with a central linoleum floor panel with Masonic imagery (including the 'blazing sun'), the temple has a coved roof, central lantern and triangular "G" icon suspended from the ceiling that symbolises God. The temple is highly decorated with mouldings, cornices, vents and Masonic emblems (including the eight-point star formed by the double cube).
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Odai Yamamoto I site in Aomori Prefecture currently has the oldest pottery in Japan. Excavations in 1998 uncovered forty-six earthenware fragments which have been dated as early as 14,500 BC (ca 16,500 BP); this places them among the earliest pottery currently known. This appears to be plain, undecorated pottery. Such a date puts the development of pottery before the warming at the end of the Pleistocene. 'Linear-relief' pottery was also found at Fukui Cave Layer III dating to 13,850–12,250 BC. This site is located in Nagasaki Prefecture, Kyushu. Both linear-relief, and 'nail-impressed' pottery were found at Torihama shell mound, in Fukui prefecture, dating to 12000-11000 BC.Junko Habu, Ancient Jomon of Japan.
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Initially all South African military orders, decorations and medals were minted by the South African Mint, but with effect from c. 1980, the manufacturing of all new awards, as well as the further production of older awards, were put out to tender by private enterprises. Since the tooling of the older awards was retained by the Mint, private manufacturers had to manufacture their own tooling, which resulted in several variations in appearance. Poor quality control and cost cutting by manufacturers resulted in the acceptance and award of a large number of medals which were only 2 millimetres thick, with no raised rim and an undecorated ribbon suspender on the reverse, as depicted.
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The long side measures 42 ft (13 m) and the shorter gable ends of the building measure 32 ft (10 m). The building's entrance is found on its south elevation and consists of dual doors which bisect the walls at the jambs. The Friends meeting house in Benjaminville is a typical example of traditional Quaker meeting houses. Elements common to Quaker meeting houses east of the Allegheny Mountains and found on the Benjaminville example are: plain, undecorated interiors, lack of stained glass, rectangular shaped log or frame construction, some type of partition within the interior space, an attached burial ground, exterior simplicity, separate men's and women's entrances, and the entryway location along the long wall.
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Until this period Rousseau had lived only occasionally at Barbizon, but in 1848 he took up his residence in the forest village, and spent most of his remaining days in the vicinity. He was now able to obtain fair sums for his pictures (but only about one-tenth of their value thirty years after his death), and the number of his admirers increased. He was still ignored by the authorities, for while Narcisse Virgilio Diaz was made Chevalier of the Legion of Honour in 1851, Rousseau was left undecorated at this time, but was nominated and awarded the Cross soon afterwards. He would eventually become an Officer of the Legion of Honor.
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Additionally, the Canadian end zone, being a live-ball part of the field, often features yardage dashes (usually marked every five yards), not unlike the field of play itself. In many places, particularly in smaller high schools and colleges, end zones are undecorated, or have plain white diagonal stripes spaced several yards apart, in lieu of colors and decorations. One notable use of this design in major college football is the Notre Dame Fighting Irish, who have both end zones at Notre Dame Stadium painted with diagonal white lines. In professional football, since 2004, the Pittsburgh Steelers of the NFL have the south end zone at Heinz Field painted with diagonal-lines during most of the regular season.
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The place is important in demonstrating the principal characteristics of a particular class of cultural places. The house demonstrates, through the inclusion of a purpose-built surgery with separate entry, ways in which work and domestic environments were combined in the homes of medical practitioners during the first half of the 20th century. The former Masel Residence is a striking example of a building in what is known as the interwar functionalist style and incorporates typical features of the style such as asymmetrical cubic massing, expanses of undecorated brick walls, steel corner and strip windows, curved brickwork corners, flat cantilevered awnings and a concealed roof. The place is important because of its aesthetic significance.
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Other animals (horses, cats or sparrowhawks) have been found on the top of the pegs, in addition to dogs and jackals, but no such pieces have been found in the Near East where this game was played from the beginning of the second millennium till the middle of the first millennium. Tokens made of ivory with a notch at the top found at Megiddo have been linked to board games. In this site, pins made of ivory with a top as a dog or jackal head was also revealed. Undecorated sticks were found at Ur. One of the examples of “Hounds and jackals” was discovered in Necropolis B at Tepe Sialk in Iran.
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Medley, 117 A characteristic northern type of "horseshoe-shaped" or mantou kiln was used, named after the Chinese bun it resembles in shape; one of a group excavated at Yaozhou was unusually well- preserved, allowing accurate plans to be made.Medley, 117–118 Towards the end, after saggars were abandoned, a ring was left unglazed in the centre of vessels, which avoided pieces stacked directly in piles from sticking together, but detracts from their appearance.Medley, 117; Osborne, 187; Medley, 115 Bowls are the most common shape, but there are a wide range of others, including pillows, vases and ewers, and human and animal figurines. The shapes are elegant, and in early wares typically left undecorated.
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The site was excavated in 1936 by Leonard Woolley, who considered it to be an early Greek trading colony, founded a little before 800 BC, in direct competition with the Phoenicians to the south. He argued that substantial amounts of Greek pottery at the site established its early Euboean connections, while the Syrian and Phoenician cooking pottery reflected a cultural mix typical of an emporium. Disappointed in not finding a Bronze-Age port, Woolley soon moved his interests to the earlier, more urbane site of Alalakh. Woolley's critics point out that he discarded coarse undecorated utilitarian wares, and that the relative numbers of Greek, Syrian and Phoenician populations have not been established.
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Grianan of Aileach fort sits on a hilltop in the Inishowen peninsula It is widely accepted that most ringforts date from the Early Christian period. Finds from ringforts typically include items which date from the second half of the first millennium: a hand-made, bucket shaped pottery style called 'Souterrain Ware', which uses local clays and can be decorated or undecorated; glass beads; bone, bronze and iron pins; and artefacts of bone and metalwork. The artefacts, which Dr. Bernard found during his excavation of the cashel interior, seem to correspond to the above list of typical items. Indeed, in a recent publication, Brian Lacy comes up with an exact date for its construction which corresponds with this period.
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The non-loadbearing concrete block perimeter wall on this side is concealed by a stone veneer. The west elevation is covered with white-painted clapboarding and is undecorated, with the exception of an off-center concrete block chimney and a single drop pendant similar to the one located at the top of the gable. The concrete block perimeter foundation is visible on the south side of the church, as is the metal embankment doors that allow access to the church's basement. North side viewed from the north lawn The church's north and south sides consist of two symmetrically placed six-over-six double-hung sash wooden windows, along with operable green-painted louvered wooden window shutters.
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Faience of Lunéville In France, the first well-known painter of faïence was Masseot Abaquesne, established in Rouen in the 1530s. Nevers faience and Rouen faience were the leading French centres of faience manufacturing in the 17th century, both able to supply wares to the standards required by the court and nobility. Many others developed from the early 18th century, led in 1690 by Quimper in Brittany , followed by Moustiers, Marseille, Strasbourg and Lunéville and many smaller centres. The products of faience manufactories are identified by the usual methods of ceramic connoisseurship: the character of the clay body, the character and palette of the glaze, and the style of decoration, faïence blanche being left in its undecorated fired white slip.
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Finds in graves are rare, perhaps suggesting they were regarded as clan or group property rather than personal possessions, and though some were found in bogs, perhaps suggesting ritual deposits, more were found on higher ground, often under standing stones.Taylor, 1980, 28 Most gold lunulae have decorative patterns very much resembling beaker pottery from roughly the same period, using geometrical patterns made up of straight lines, with zig- zags and criss-cross patterns, and many different axes of symmetry. The curving edges of the lunula are generally followed by curving border-lines, often with decoration between them. The decoration is typically most dense at the tips and edges, and the broad lower central area is often undecorated between the borders.
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Because of the plainness of the exterior wall of building, where there are no windows at the street level that peer into the inside quarters of the building, there are two inscribed tablets that name the building and describe its purpose. However, the entirety of the exterior is not undecorated: Above the main entrance, there is a relief by Estelle Rumbold Kohn, which depicts eight separate figures, arranged in a vigil. Moreover, over the side entrances of the meeting house there are four, relatively small torch-bearing figures designed and crafted by Harriet F. Clark. Concert hall stage & pews NYSEC jeh In the same vein as the exterior of the meeting house, the interior of the hallowed space is also plain.
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By the 3rd century, the black-figure lekythos with palmettes or Dionysiac scenes has been completely replaced as a standard grave good by the undecorated, "cruder" unguentarium, indicating a shift in burial practice that is characteristic of the period.Karen Stears, "Losing the Picture: Change and Continuity in Athenian Grave Monuments in the Fourth and Third Centuries B.C.," in Word and Image in Ancient Greece, edited by N.K. Rutter and Brian A. Sparkes (Edinburgh University Press, 2000), p. 222. Although the unguentaria seem often to have been buried along with other objects associated with or treasured by the deceased or as grave gifts, they may have also have held a substance — such as oil, wine, or powdered incense — for a graveside ritual.
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The National Cadet Bisley Grand Champion Medal is unusual in that the South African Coat of Arms does not appear anywhere on it. ;Obverse The medal is a round medallion struck in silver, 3 millimetres thick and 38 millimetres in diameter, depicting the prancing springbok emblem of the School Cadet Corps of the South African Defence Force, partly surrounded by a wreath of leaves. Proof specimen with errors ;Reverse The reverse has the words "KADETKORPS" and "CADET CORPS" in the centre, surrounded by the words "GROOTKAMPIOENSKUT" above and "GRAND CHAMPION SHOT" below, with the medal number engraved underneath the centre inscription. The reverse of the specimen medal depicted is erroneously inscribed "SHOTS" instead of "SHOT" and has a plain undecorated suspender reverse side.
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The first level with gift depositaries consisted in two main themes: the sword and the axe, outlining the role of the two weapons in the Intra-Carpathian warrior. The lance must have been yet another important weapon, but is a lesser find. The characteristics of the period are the bronze deposits at Apa, Satu Mare County (two swords, three war axes and a defense bracer), Ighiu, Alba County (two axes with spiked discs and four defense bracers) and at Săpânţa, Maramureș County (a spiked disc axe of type A2, exquisitely decorated, older than all the other pieces, spiral bracers, arm bands, and cordiform pendants). In the following stage, undecorated bronze items (single-edged axe and spiked disc axe), were produced and stored in ever increasing quantities.
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The top and sides (handle) of the seal may be decorated in any fashion from completely undecorated to historical animal motifs to dates, names, and inscriptions. Throughout Japan, rules governing jitsuin design are so stringent and each design is unique so the vast majority of people entrust the creation of their jitsuin to a professional, paying upward of US$20 and more often closer to US$100, and using it for decades. People desirous of opening a new chapter in their lives—say, following a divorce, death of a spouse, a long streak of bad luck, or a change in career—will often have a new jitsuin made. The material is usually a high quality hard stone or, far less frequently, deerhorn, soapstone, or jade.
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Konya holds two earlier türbe, with conical roofs, of the Seljuk Rum dynasty in the Alâeddin Mosque (12th century onwards), and the türbe of Jalal ad-Din Muhammad Rumi, which is a major shrine and pilgrimage point, just like the türbe of Gül Baba in Budapest, Hungary. Bursa, a capital of the earlier Ottomans before the conquest of Constantinople, holds the turbes of many of the earlier Ottoman Sultans including Osman I and his son, the Muradiye Complex containing Murad II and many princes, and the Yeşil Türbe of Mehmed I (died 1421). This is a large three-story tower, and the (false) sarcophagus itself is covered in tiles. Unusually, much of the exterior is covered with undecorated coloured tiles.
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Fountains Abbey – a UNESCO World Heritage Site The Cistercian abbeys of Fontenay in France, Fountains in England, Alcobaça in Portugal, Poblet in Spain and Maulbronn in Germany are today recognised as UNESCO World Heritage Sites. The abbeys of France and England are fine examples of Romanesque and Gothic architecture. The architecture of Fontenay has been described as "an excellent illustration of the ideal of self-sufficiency" practised by the earliest Cistercian communities. The abbeys of 12th century England were stark and undecorated – a dramatic contrast with the elaborate churches of the wealthier Benedictine houses – yet to quote Warren Hollister, "even now the simple beauty of Cistercian ruins such as Fountains and Rievaulx, set in the wilderness of Yorkshire, is deeply moving".
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Billingsley's porcelain recipe was modified and improved, but was still wasteful enough for Dillwyn to abandon the project in Swansea and in 1817, the pair returned to Nantgarw. Young reinvested in the pottery at Nantgarw, additionally becoming an art teacher at Cowbridge Free School to help raise the funds. Billingsley and Walker continued to fire their porcelain at a loss however until one day in April 1820, while Young was away in Bristol, the pair absconded to Coalport leaving behind them the lease to the pottery and several thousand pieces of undecorated porcelain in various stages of production. Young put the Nantgarw Pottery and its contents up for sale via public auction in October 1820, enabling himself to buy-out his minor partners and become sole proprietor.
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By the mid-18th centuries many French factories produced (as well as simpler wares) pieces that followed the Rococo styles of the French porcelain factories and often hired and trained painters with the skill to produce work of a quality that sometimes approached them. The products of French faience manufactories, rarely marked, are identified by the usual methods of ceramic connoisseurship: the character of the body, the character and palette of the glaze, and the style of decoration, faïence blanche being left in its undecorated fired white slip. Faïence parlante bears mottoes often on decorative labels or banners. Wares for apothecaries, including albarello, can bear the names of their intended contents, generally in Latin and often so abbreviated to be unrecognizable to the untutored eye.
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Characteristics of the functionalist style in Australia include asymmetrical massing, simple geometric shapes, clean lines, steel framed corner and strip windows, undecorated brick walls, curved external corners, flat cantilevered concrete awnings and low pitched or flat roofs concealed behind parapets. Buildings constructed in Bundaberg at this time include: extensions to the hospital and a new state high school at Kepnock in 1964, a new fire station (1950), the Canegrowers Building (1957), the 1957 4BU Radio Station a new courthouse in 1958 and the Civic Centre built in 1960. The Bundaberg News Mail reported in December 1952 that the AWU building was under construction and was the largest non-government building project in Bundaberg at the time. When completed it was to be named Fallon House.
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Head Croatian Apoxyomenos is high, and stands on a high original bronze base which is decorated with alternating square and swastika ornamentation. The alternating square-and-swastika is repeated three times on the sides of the base, four times on the front, while the back side of the base is undecorated. Art historians Nenad Cambi from Split and professor Vincenzo Saladino from the University of Florence believe that this bronze statue dates from 2nd or 1st century BC. The author is unknown, but the statue's beauty, as well as the quality of its casting, indicate a highly skilled craftsman. Torso A similar statue was found in 1896 in Ephesus, in present-day Turkey, and is now held by the Kunsthistorisches Museum in Vienna.
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With the doors opened, it measures . Inside, the upper register has a central carving of the Crucifixion with donor portraits with coats of arms and patron saints, flanked by the Christ Carrying the Cross on the left wing and the Descent from the Cross and Resurrection on the right wing. The lower register has a central carving of the Nativity of Jesus, with the Annunciation to the Shepherds in the background and the Adoration of the Shepherds on the lower left side, flanked to the left by an Annunciation, with Anne and Joachim at the Golden Gate in the background, and by the Adoration of the Magi to the right. The rear is plain and undecorated, suggesting it was intended to be displayed against a wall.
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A cenotaph in the UK that stands in Whitehall, London, was designed by Sir Edwin LutyensSkelton & Gliddon – Lutyens and the Great War, published 2008, Pages 23–47 (also see external link below: Cenotaph of Sigismunda and Lutyen's Whitehall Cenotaph) and replaced Lutyens' identical wood-and-plaster cenotaph erected in 1919 for the Allied Victory Parade, and is a Grade I listed building."Buildings of outstanding or national architectural or historic interest." It is undecorated save for a carved wreath on each end and the words "The Glorious Dead," chosen by Lloyd George. It was intended to commemorate specifically the victims of the First World War, but is used to commemorate all of the dead in all wars in which British servicemen and women have fought.
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The sides of a shield were originally named for the purpose of military training of knights and soldiers long before heraldry came into use early in the 13th century so the only viewpoint that was relevant was the bearer's. The front of the purely-functional shield was originally undecorated. It is likely that the use of the shield as a defensive and offensive weapon was almost as developed as that of the sword itself and so the various positions or strokes of the shield needed to be described to students of arms. Such usage may indeed have descended directly from Roman training techniques that were spread throughout Roman Europe and then continued during the age of chivalry, when heraldry came into use.
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The hoard in its entirety comprises two large gold torcs, three smaller gold bracelets, a fragment of bronze rod or wire, and an undecorated fineware post-Deverel- Rimbury type bowl with a brown ceramic fabric, standing high. The heaviest item (see specifications below, item 1) weighed ; the second torc and bracelet (items 2 and 4 respectively), following X-ray fluorescence analysis at the British Museum, contained the largest amount of gold at 85% each. The total weight is , and the British Museum described it as "one of the biggest concentrations of Bronze Age gold known from Britain and seems to flaunt wealth." The finders' reporting the hoard in good time ensured "certain association between a gold hoard and pottery for the British Middle to Late Bronze Age (about 1500–800 BC)" could be established.
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The inscriptions permit the exact dating of some of the vases, although the omission of the currently ruling member of the Ptolemaic dynasty has led to the occasional controversy. Scholars assume that the first inscribed vases date to about 260 BC, and the last decorated specimens to the very beginning of the 2nd century BC. Undecorated Hâdra vases were produced until the 1st century BC. Apart from Egypt and Crete, Hâdra vases have also been found in Eretria, Attica, Rhodes, Cilicia, Cyrene, Cyprus and the Black Sea area. Hydrai of the Hellenistic period were smaller than those in use earlier, especially in the 6th and 5th centuries BC. The decoration on Hâdra vases can resemble that of Geometric pottery. The colouring, using dark slip s, also resembles Geometric and Archaic precedents.
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Santi Gioacchino e Anna ai MontiSanti Gioacchino ed Anna ai Monti (Saints Joachim and Anne on the hills) is a church on the Via Monte Polacco in Rome. Pope Clement XIII demolished a thirty-seven-year-old Minim monastery on this site (founded in 1723 by Fr. Francesco Narici) in 1760 to make way for a new monastery and the present church. The church, on a Greek cross plan, barrel- vaulted and with a central dome, was consecrated in 1781 by Pope Pius VI. Its 18th-century façade has four pilasters with Corinthian capitals and is crowned by an undecorated tympanon. The main decorations are stucco cherubs, including a tympanum above the high altar with cherubs in glory and a painting of the Madonna, St Anne and St Joachim.
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The lowering of the raised entrance, the creation of a loggia(of which only the benches and corbels remain), and the vaulted rooms on the ground floor, all date from this period. The area around the clock on the façade date from 1575, while the statue of the "Madonna with Child" is from 1680 and was commissioned in Venice. To the side of the undecorated entrance are three standard measuring units: piede (foot), braccio (arm) and canna (cane): to these should be added the stub of a Roman column known as the "Cagliese quarter" now positioned just inside the main room on the ground floor. The fresco in the lunette on the back wall is of the Madonna with Child, St Michael Archangel and St Gerontius (1536) attributed to Giovanni Dionigi.
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The design and fenestration of the entrance façade is repeated at the rear on the garden façade, except that the roof balustrade at the rear is undecorated by urns and pediment. The house is built of Helmdon stone, a cream stone of exceptional quality, which has ensured that the carving appears as crisp today as it was on completion of the house in 1702. The two side elevations of the house tell the story of life in a country house before the age of the servants' bell. Until the invention of the remote bell situated in the servants' hall, which could be jangled by a system of ropes and pulleys from far away, it was necessary for servants to be located within earshot of a hand-bell or call of the voice.
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Yonggo being played in a marching daechwita ensemble There are two forms of undecorated buk used in Korean folk music: the buk used to accompany pansori, which has tacked heads, is called a sori-buk (소리북),photo while the buk used to accompany pungmul music, which has laced heads, is called pungmul-buk (풍물북).photo The sori-buk is played with both an open left hand and a stick made of birch that is held in the right hand, with the stick striking both the right drumhead and the wood of the drum's body. The pungmul- buk is one of the four instruments used in samul nori, a modern performance version of pungmul. It is played by striking a single stick (usually with the right hand) on only one of its heads.
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A three-storey utilitarian building, Bridges Street Market is a reinforced concrete frame structure built in the International Modernist style generally accepted as originated in Germany by the Bauhaus School of Art in the 1920s. The architectural style's main characteristics, which can also be found in the market, include asymmetry, severe blocky cubic shapes, smooth flat plain undecorated surfaces often painted white, the complete elimination of all mouldings and ornament, flat roofs, large expanses of glass held in steel frames on the elevation, and long horizontal streamlined bands of windows. The adoption of reinforced concrete post-and-slab construction with flat slab floors and a flat roof-slab carried on concrete columns has created room for free planning. Partitions could be erected freely as desired, as they played no part in the structure bearing function of the building.
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The presiding magistrate sat on a special chair (the "curule chair"), wore a purple-bordered toga, and was accompanied by bodyguards called lictors. Each lictor carried the symbol of state power, the fasces, which was a bundle of white birch rods, tied together with a red leather ribbon into a cylinder, and with a blade on the side, projecting from the bundle. While the voters in this assembly wore white undecorated togas and were unarmed, they were still soldiers, and as such they could not meet inside of the physical boundary of the city of Rome (the pomerium). Because of this, as well as the large size of the assembly (as many as 373 centuries), the assembly often met on the Field of Mars (Latin: Campus Martius), which was a large field located right outside of the city wall.
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Reichle, 225 Other common figures in monasteries are pairs of Pancika (the Hindu Kubera) and his consort Hariti, representing material and spiritual wealth at more than one level.Reichle, 226; Donaldson, 330 The style of these figures demonstrates that they were made at the same period as the sculpture on the Baitala Deula Hindu temple in Bhubaneswar, and it has been suggested that some individual sculptors worked at both sites, "a lack of sectarian specialization" in builders and carvers in India being very common.Harle, 163 The monastery courtyard had a large verandah, now mostly vanished, probably giving an effect and utility similar to the cloisters of European Christian monasteries. One part, with a central doorway flanked on both sides by three niches, was exceptionally elaborate, and has been reconstructed by the ASI, replacing missing elements with matching shaped but undecorated stone blocks.
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In 1932, the Museum of Modern Art exhibited a modern architecture show that would introduce the International Style to New Yorkers; museum director Alfred H. Barr Jr. was dismissive of the Art Deco style and tastes of "low", commercial interests. Where Art Deco maintained links to classicism and favored ornamentation, International Style favored undecorated facades; Bletter summed up the difference between the ethos of International Style as "less is more", and Art Deco as "more than enough." While the International Style's impact was blunted by the Depression, it became popular after World War II. International Style buildings, with their emphasis on airy glass and the horizontal were now modern and exciting, while Deco was outmoded and linked to the Depression-era privations. In comparison to the International Style, Art Deco's role as the first international style, and its importance, were largely forgotten.
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The Mumun period ends when iron appeared in the archaeological record along with pit-houses that had interior composite hearth-ovens reminiscent of the historic period (agungi). Some scholars suggest that the Mumun pottery period should be extended to 0 BC because of the presence of an undecorated ware that was popular between 400 BC and 0 BC called jeomtodae (). However, bronze became very important in ceremonial and elite life from 300 BC. Additionally, iron tools are increasingly found in Southern Korea after 300 BC. These factors clearly differentiate the time period 300 BC - 0 from the cultural, technological, and social scale that was present in the Mumun pottery period. The unequal presence of bronze and iron in increased amounts from a few high status graves after 300 BC as sets this time apart from the Mumun pottery period.
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Side view of the statue in 2014 showing the bas-relief on the west side of the pedestal Parliament voted to fund a pedestal for the statue, carved from Cornish granite, but transportation delays meant that it was not until 26 October 1860 that the statue was placed on its pedestal and unveiled to the public. It was completely undecorated at first but a bronze shield was placed on the front end of the pedestal shortly after the installation. The Times (probably its pro-Marochetti reporter Henry Reeve) declared that with the installation of the statue "a great reproach had been removed from London", which now finally had a great equestrian monument which displayed a "combination of life and picturesqueness". It claimed that Marochetti's Richard I ranked "with the few great statues of that class in Europe".
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Beginning of the text The St Cuthbert Gospel, also known as the Stonyhurst Gospel or the St Cuthbert Gospel of St John, is an early 8th-century pocket gospel book, written in Latin. Its finely decorated leather binding is the earliest known Western bookbinding to survive, and both the 94 vellum folios and the binding are in outstanding condition for a book of this age. With a page size of only , the St Cuthbert Gospel is one of the smallest surviving Anglo-Saxon manuscripts. The essentially undecorated text is the Gospel of John in Latin, written in a script that has been regarded as a model of elegant simplicity. The book takes its name from Saint Cuthbert of Lindisfarne, North East England, in whose tomb it was placed, probably a few years after his death in 687.
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The earliest parts of the building are some Anglo-Saxon "long-and-short" stonework, visible externally at the southeast and southwest corners (quoins) of the nave. The church also has several Romanesque details dating from the Norman era, including a Priest's Door ("uncommonly ornate", according to Nikolaus Pevsner) with a finely carved tympanum; the empty circular niche in the tympanum is said to have held a relic; the birds in roundels to either side are probably eagles, as one is legendarily supposed to have sheltered Medard from the rain. Also Norman are the plain, undecorated arch into the tower, and the north door (late 12th century). The circular niche above the Priest's Door may once have held a relicThe Buildings of England: Lincolnshire, Nikolaus Pevsner and John Harris (2nd edition, revised by Nicholas Antram), (2002), p529 of St Medard.
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Many artifacts found at Yankeetown are curated in the museum at Angel Mounds State Memorial in nearby Evansville, although the second 1950 survey kept its findings separate from those at Angel, and the landowner maintained a substantial collection. More than six thousand sherds from Yankeetown are curated at Angel; the majority of those known in 1950 were tempered with clay and/or grit, although six hundred bore evidence of shell tempering, and only about five hundred lacked evidence of a tempering agent. Meanwhile, large numbers of the sherds are plain; hundreds have been found marked with cords or incisions, but approximately 64% of the pottery known in 1950 was completely undecorated. Rarer items found at Yankeetown include flint knives, hammerstones, trowels, lithic flakes, bones, objects of cannel coal, and two damaged pottery effigies of women with everything below the shoulders broken off.
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The earliest parts of the building are some Anglo-Saxon "long-and-short" stonework, visible externally at the southeast and southwest corners (quoins) of the nave. The church also has several Romanesque details dating from the Norman era, including a Priest's Door ("uncommonly ornate", according to Nikolaus Pevsner) with a finely carved tympanum; the empty circular niche in the tympanum is said to have held a relic; the birds in roundels to either side are probably eagles, as one is legendarily supposed to have sheltered Medard from the rain . Also Norman are the plain, undecorated arch into the tower, and the north door (late 12th century). The circular niche above the Priest's Door may once have held a relicThe Buildings of England: Lincolnshire, Nikolaus Pevsner and John Harris (2nd edition, revised by Nicholas Antram), (2002), p529 of St Medard.
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In 1974 or 1975, a brick vault was discovered under the pagoda during renovations. It was the tomb of the 11th-century monk Miaoyuan () whose ashes—as was common of other masters during the Northern Song—had been placed within the hollow belly of the enlightened Buddha to serve as an object of veneration.. The bronze reclining Buddha was long and more than . Two elephant teeth and seven relic beads were placed neatly nearby in two silver cases. The Buddha and the silver cases had been stored in a lacquer case, which had been placed in a larger stone one and then stored in an undecorated crypt.. The Square Pagoda is the centerpiece of the modern city's Fangta Park, which was organized in 1980 by Feng Jizhong as one of the first reassertions of the importance of traditional Chinese architecture after the ravages of the Cultural Revolution.
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On his excavation Moore recorded eleven sites and partially excavated eight, including Holly Bluff: "with a large force to dig, including May who had been in our service before, we go directly to work on such mounds". Moore commented on the physical appearance of the site: "Strewn over the enclosed area, among the mounds and on them…are chert pebbles; fragments of chert; bits of mussel shell; and small parts of earthenware vessels" Most of the earthenware was undecorated, he recorded, and mostly shell-tempered with some stone tempering which is common in the Yazoo-Sunflower region. C. B. Moore's excavations produced various small artifacts including projectile points, a pebble ax of fossilized wood, a chert hammerstone, and a zoomorphic effigy pipe of shell- tempered pottery. He was disappointed, however, in finding nothing of great importance other than two disturbed burials in a mound on the lake front.
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Dr. Wall Worcester porcelain dessert plate in the Japanese Arita ware style About 1756 he rented a workshop with a kiln in Kentish Town and by 1763 had moved on to Berwick Street. A few years later he started a showroom in the Arts Museum in Cockspur Street, opposite the Haymarket, seemingly with the support of the Worcester porcelain factory. When his collaboration with Worcester ended in 1771, he moved to an address in the same street at the north-west corner of Trafalgar Square. Giles bought his undecorated porcelain and glass from a large number of sources, resulting in glassware of great variety in shape, size and colour, in turn leading to an enormous diversity of bijouterie for the luxury trade. He advertised widely, strangely failing to mention his glassware in the many notices that were placed in "The Public Advertiser" between 1767 and 1776.
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The centre bay projects slightly to accentuate the main entrance, which is protected by a porch in a loose palladian style of two unfluted Corinthean columns supporting a pediment. The pitched roof is hidden by an unusual parapet masquerading as an undecorated entablature, showing the unknown architect had an interest in a purer form of classicism than he was permitted to design in Aylesbury. By this date architectural engravings of works by the master architects in Rome and elsewhere were widely available, and it is likely that this is the source of the inspiration behind some of the more interesting features of Ceely House, including its porch which is a miniature portico. As in the case of the Friarage however Ceely House is another example of a much older building with a new front: medieval wall paintings may be found in the upper storeys of the house, which is now part of the Buckinghamshire County Museum.
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Initially all South African military orders, decorations and medals were minted by the South African Mint, but from c. 1980, the manufacturing of all new awards as well as the further production of older awards were put out to tender by private enterprises. Since the tooling of the older awards was retained by the Mint, private manufacturers had to manufacture their own tooling, which resulted in several variations in appearance. Poor quality control and cost cutting by manufacturers resulted in the acceptance and award of a large number of medals which were only 2 millimetres thick, with no raised rim and an undecorated ribbon suspender on the reverse, such as the one depicted alongside. 1980s thin version with 1993 ribbon Medals minted from 1991 were once again compliant with the description in the warrant in terms of which the medal was instituted, but they were struck in one piece with the ribbon suspenders.
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Many of the firms were forced to close. Faced with this threat, the remaining Bunzlauer potters, while continuing to meet an agrarian demand for traditional undecorated brown slip vessels, introduced new lines of smaller wares intended for display in the parlors and dining rooms of middle-class consumers. They began to experiment with colored glazes and application (spongeware) techniques, all aimed at catching the eye of an increasingly urban and urbane public. In their survival effort, the local artisans were aided by professors at the government- sponsored Keramische Fachschule (Ceramic Technical Training School), which had been established in Bunzlau in 1898 under the leadership of the Berlin ceramicist Dr. Wilhelm Pukall (1860–1936).Mack, Review, 126 The simple blue- on-white spongeware and swirlware productions of the 1880s and 1890s with their clear feldspathic glazes were successful initially, but something still more colorful and forceful was needed if modern customers were to be attracted.
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An ambitious civilian building project for its time, the building also illustrates the importance of Redcliffe as a Rest and Recreation centre for troops during World War II. The owner's intention to create a durable, high quality building is shown by the intact joinery in the accommodation areas, and by the original terrazzo and ceramic tile floor finishes throughout the building. In addition, Comino's Arcade is a product of the chain migration of Greeks from the island of Kythera into Queensland during the first half of the twentieth century; a migration which influenced the evolution of the hospitality industry in Queensland. Comino's Arcade is also important in demonstrating the adoption of modernist architectural design principles - principles that were almost universally adopted in post-war architecture. Some of the building's features, uncommon in its time - such as its stark face brick street elevation, its undecorated parapet, and its cantilevered concrete window shades - were to become standard in the 1950s and 1960s.
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The Terraces at Nos. 17-31 Playfair Street are relatively intact examples of worker's terraces constructed in the second half of the 19th century that retain their fundamental form and character. Despite the demolition of the rear wings and some internal walls and features the terraces retain a sense of their original two room configuration on each floor, original spatial qualities and simplicity of the interior and lack of decoration and use of attic spaces accessed via narrow stairs. Together with Nos. 13-15 they demonstrate the changes in architectural style during this period with the simple and undecorated style of the terraces constructed during the 1870s (Nos. 17-31) in contrast to the slightly more decorated Nos. 13-15 which were constructed in the 1880s and feature Italianate decoration popular at this time. The terraces are prominent elements in the Playfair streetscape primarily due to their smaller scale and are an integral part of a diverse residential/ commercial character of the place.
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Especially in the earlier periods, further statuary might be placed on the roof, and the entablature decorated with antefixes and other elements, all of this being brightly painted. However, unlike the Greek models, which generally gave equal treatment to all sides of the temple, which could be viewed and approached from all directions, the side and rear walls of Roman temples might be largely undecorated (as in the Pantheon, Rome and Vic), inaccessible by steps (as in the Maison Carrée and Vic), and even back on to other buildings. As in the Maison Carrée, columns at the side might be half columns, emerging from ("engaged with" in architectural terminology) the wall.Wheeler, 89; Henig, 56 The platform on which the temple sat was typically raised higher in Etruscan and Roman examples than Greek, with up to ten, twelve or more steps rather than the three typical in Greek temples; the Temple of Claudius was raised twenty steps.
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An annex was built for porcelain production at the Cambrian Pottery, where Walker and Billingsley were based from late 1814. The recipe was modified and improved, but was still wasteful enough for Dillwyn to abandon the project and in 1817, Billingsley, his younger daughter Lavinia and Samuel Walker returned to Nantgarw; Sarah, Billingsley's older daughter, Walkers wife, had died in January of that year, sadly, Lavinia also died in September of this year at Nantgarw. Young reinvested in the pottery at Nantgarw, additionally becoming an art teacher at Cowbridge Free School to help raise the funds. Billingsley and Walker continued to fire their porcelain at a loss however until one day in April 1820, while Young was away in Bristol, Billingsley (know locally a Mr Beeley) and Walker absconded to Coalport porcelain leaving behind them the lease to the pottery and several thousand pieces of undecorated porcelain in various stages of production.
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The Caloosahatchee culture is an archaeological culture on the Gulf coast of Southwest Florida that lasted from about 500 to 1750 AD. Its territory consisted of the coast from Estero Bay to Charlotte Harbor and inland about halfway to Lake Okeechobee, approximately covering what are now Charlotte, Lee, and Collier counties. At the time of first European contact, the Caloosahatchee culture region formed the core of the Calusa domain. Some Archaic artifacts have been found in the Caloosahatchee culture region, including one site classified as early Archaic. There is evidence that Charlotte Harbor aquatic resources were being intensively exploited before 3500 BC. Undecorated pottery belonging to the early Glades culture appeared in the region around 500 BC. Pottery distinct from the Glades tradition developed in the Caloosahatchee region around 500 AD, and a complex society with high population densities developed by 800 AD. Later periods in the Caloosahatchee culture are defined by the appearance of pottery from other traditions in the archaeological record.
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The form of the Roman temple was mainly derived from the Etruscan model, but using Greek styles . Roman temples emphasised the front of the building, which followed Greek temple models and typically consisted of wide steps leading to a portico with columns, a pronaos, and usually a triangular pediment above, which was filled with statuary in the most grand examples; this was as often in terracotta as stone, and no examples have survived except as fragments. However, unlike the Greek models, which generally gave equal treatment to all sides of the temple, which could be viewed and approached from all directions, the sides and rear of Roman temples might be largely undecorated (as in the Pantheon, Rome and Vic), inaccessible by steps (as in the Maison Carrée and Vic), and even back on to other buildings. As in the Maison Carrée, columns at the side might be half-columns, emerging from ("engaged with" in architectural terminology) the wall.
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According to Don Markstein's Toonopedia "The strip's humor style—quite contemporary, in contrast to its medieval setting—ranges from broad and low to pure black".The Wizard of Id at Don Markstein's Toonopedia The style in which certain characters are drawn has changed from the early years of the strip to today. For example, the old style of the King's head was more rectangular, he had a crown with identifiable card suits on it (club, diamond, heart), his mustache and beard always hid his mouth, and his beard frequently extended to a curved point when the King was shown in profile (see The Wondrous Wizard of Id, 1970, Fawcett Publications). In the new style, the King's head is more trapezoidal with a slightly smaller and undecorated crown, he has a huge nose (even bigger than Rodney's) which covers his mouth and chin, and when he opens his mouth it appears that his beard has been shaved off.
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Olmsted, Garrett S (1979), "The Gundestrup cauldron : its archaeological context, the style and iconography of its portrayed motifs and their narration of a Gaulish version of Táin Bó Cúailnge", Collection Latomus 162 [Latomus: Bruxelle 1979]. It is now usually on display in the National Museum of Denmark in Copenhagen, with replicas at other museums; during 2015–16 it was in the UK on a travelling exhibition called The Celts.Exhibition page , National Museum of Scotland, 10 Mar – 25 Sep 2016 The cauldron is not complete, and now consists of a rounded cup-shaped bottom making up the lower part of the cauldron, usually called the base plate, above which are five interior plates and seven exterior ones; a missing eighth exterior plate would be needed to encircle the cauldron, and only two sections of a rounded rim at the top of the cauldron survive. The base plate is mostly smooth and undecorated inside and out, apart from a decorated round medallion in the centre of the interior.
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149; Vasi, 1756, pp. 67 – 8 (including Plate 138). The facade was begun in the late seventeenth century and was still unfinished in 1734.The church was built over an extended period, with the major figures including Carlo Fontana (from the early 1670s) and Giovanni Antonio de Rossi, the architect of the Palazzo d'Aste on the Piazza Venezia in Rome. The façade is attributed in contemporary sources to de Rossi or his successor Carlo Quadri: Contardi and Curcio, 1991, p. 426. Chapter records mention his development of designs for the façade of the church: Mortari, 1987, p. 27 Work on this design proceeded between 1696 and 1699. This façade appears to have been undecorated, a fact attested by the hanging of tapestries on this façade for the patronal festival in 1725 (this would only have occurred with a plain façade and would be impossible with the decorative scheme currently in place): Mortari, 1987, p. 39. Similarly, a chapter record written by the general of the Ministri degli Infermi, Costantini, in 1734, indicates that the façade was still unfinished (grezza): Marino, 1992, p. 790.
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Narcissus basin with light bluish-green glaze, National Palace Museum. Ru ware bowl, with metal rim, British Museum. Group in the Percival David Collection. Ru ware, Ju ware, or "Ru official ware" () is a famous and extremely rare type of Chinese pottery from the Song dynasty, produced for the imperial court for a brief period around 1100. Fewer than 100 complete pieces survive, though there are later imitations which do not entirely match the originals. Most have a distinctive pale "duck-egg" blue glaze, "like the blue of the sky in a clearing amongst the clouds after rain" according to a medieval connoisseur,Sun (translation quoted); Sotheby's (2012). This description was also applied to the still rarer, and possibly mythical Chai ware of the 10th century, see Gompertz, 79–80 (and note 5); Rawson, 245 and are otherwise undecorated, though their colours vary and reach into a celadon green.Sun; Sotheby's (2012) The shapes include dishes, probably used as brush-washers, cups, wine bottles (carafes in modern terms), small vases, and censers and incense-burners.
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A mosaic in the North African ruins of Dougga shows two hefty slaves pouring wine from amphorae into two shallow bowls held by slaves waiting on the banquet. The two amphorae are inscribed with "ΠΙΕ" and "ΣΗϹΗϹ" the Greek originals of the toasting formulae "pie zeses" ("Drink, may you live", discussed below) so common on Roman glasses, and it has been suggested that the mosaic shows the shape a complete cup would have had.by Smith, see Lutraan, 75 and note 197 4th century married couple, inscribed "PIE ZESES" ("Drink, may you live") 3rd-century quality portrait of a couple At what was probably a much later date, perhaps after decades of use, on the death of the owner the main vessel of undecorated glass was cut away and trimmed to leave only the gold glass roundel, which was then used in the catacombs as a grave marker. Presumably in many cases the cup had already broken in the normal course of use, and the thick bottom with the decoration had been preserved for later use in this way.
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On the west side, the side panels read ANTWERP 1914 (left) and GALLIPOLI 1915–16 (right); the central panel contains a verse from the 1914 poem "III: The Dead" by Rupert Brooke, a war poet and member of the RND who died of disease while en route with the division to Gallipoli in April 1915: Detail of the plinth, showing the carved unit badges and the poem by Rupert Brooke The lower section of the plinth is mostly undecorated. The front face contains two more cap badges and on the west face are inscriptions of the names of two battalions from the division: BENBOW and COLLINGWOOD. Where the plinth joins the balustrade of the Admiralty building, an inscription on a stone panel records the history of the memorial: THIS MEMORIAL DESIGNED BY SIR EDWIN LUTYENS WAS UNVEILED ON THE HORSE GUARDS PARADE AT THE CORNER OF THE ADMIRALTY ON APRIL 25TH 1925 THE TENTH ANNIVERSARY OF THE LANDING ON GALLIPOLI. REMOVED IN 1940, ERECTED IN GREENWICH IN 1951 AND REINSTATED ON THIS SITE IN 2003.
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However, when Dilwyn's notebooks were interred at the V&A; Museum, South Kensington, London in 1920; Bilingsley's recipe was found, but had never used in Billingsley's absence. A jigger-and- jolley machine demonstrated by the curator of the Nantgarw pottery museum In the second phase of production at Nantgarw, Young invested a further £1,100 in the pottery as well as mustering a further £1,000 from "ten gentlemen of the county". Billingsley and Walker continued to fire their porcelain, which by this stage was of the finest quality Billingsley had ever attained but still at a loss until one day in April 1820, while Young was away in Bristol, the pair absconded to Coalport leaving behind them the lease to the pottery and several thousand pieces of undecorated porcelain in various stages of production ("in the biscuit and the white"). Young put the Nantgarw Pottery and its contents up for sale via public auction in October 1820, enabling him to buy out his minor partners, become sole proprietor and manage the completion and sale of the stock; effectively salvaging the business.
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