Ornate voluted palmettes separate the groups, while tendrils of vegetation fill the space around the animals, creating the impression of lace.
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Thousands of comuter endured massive delays yesterday and were rced to take long, voluted journeys to try to bypass the problems.
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Within the boldly-wrought voluted architectonic framework prance symmetrical pairs of vivacious steeds to support the circular Garter containing the Earl's arms.
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A fine voluted Corinthian capital and a collection of antefixes of palmette design from the palace gave an idea of its original splendour.
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The front facade features a three-bay loggia formed by arches with voluted keystones, springing from Tuscan order columns. This building served as the main post office for Greenville until 1969. It currently serves as a U.S. Courthouse. It was added to the National Register of Historic Places in 1986.
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The Hajdúdorog Cathedral's altar table has a voluted top resembling to a cloth canopy, therefore the baldachin term was used in the article. 1913 Catholic Encyclopedia: "Ciborium" and Altar Canopy The parish hired Miklós Jankovits to make the original altar table in 1799. He finished all the carving works for the church within 2 years.Terdik (2010) This original structure was altered several times during the last 200 years.
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At the roofline is a broad overhanging cornice with dentils and voluted brackets. Above the cornice on the south facade bay window is a balcony with wooden balustrade, echoed on the tower. The front porch has a hipped roof supported by two turned wooden columns with balustrades between themselves and the front wall. The main hall features carved ebony columns in the Eastlake style with a floor of alternating majolica and encaustic tiles.
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Reliefs never decorate walls in an arbitrary way. The sculpture is always located in several predetermined areas, the metopes and the pediment. In later Ionic architecture, there is greater diversity in the types and numbers of mouldings and decorations, particularly around doorways, where voluted brackets sometimes occur supporting an ornamental cornice over a door, such as that at the Erechtheion. A much applied narrow moulding is called "bead and reel" and is symmetrical, stemming from turned wooden prototypes.
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The side bays originally had four openings which were later replaced with false windows (these were also removed during the Neo-Baroque remodelling). The heavy cornice was supported by large projecting modillions. The western entrance was protected by an aedicular porch with two Ionic columns and a triangular pediment. The lower level of the tower was flanked by voluted gables with crosses, while the belfry on the upper level had four arched windows on each side with arched pediments and balconets.
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The red tassels and the hats on the heraldic reliefs are the only painted surfaces. The aedicule itself is flanked by cable-fluted pilasters with Composite capitals and crowned with a heavily articulated cornice and pediment. The realistic portrait bust of the deceised is set in an oval niche and a Latin inscription says: EXPECTO DONEC VENIAT IMMUTATIO MEA (I wait, till my change comes, Job 14:14), a reference to resurrection. The material of the aedicule is white marble but the voluted sarcophagus was created from gray-veined Pavonazzo marble.
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The Ionic order is recognized by its voluted capital, in which a curved echinus of similar shape to that of the Doric order, but decorated with stylised ornament, is surmounted by a horizontal band that scrolls under to either side, forming spirals or volutes similar to those of the nautilus shell or ram's horn. In plan, the capital is rectangular. It is designed to be viewed frontally but the capitals at the corners of buildings are modified with an additional scroll so as to appear regular on two adjoining faces. In the Hellenistic period, four-fronted Ionic capitals became common.
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The Corinthian order does not have its origin in wooden architecture. It grew directly out of the Ionic in the mid 5th century BC, and was initially of much the same style and proportion, but distinguished by its more ornate capitals.Banister Fletcher pp. 137–139 The capital was very much deeper than either the Doric or the Ionic capital, being shaped like a large krater, a bell-shaped mixing bowl, and being ornamented with a double row of acanthus leaves above which rose voluted tendrils, supporting the corners of the abacus, which, no longer perfectly square, splayed above them.
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1200 (drawing C). The basic form appears unaltered during the intervening centuries, and indeed continued in use through the Renaissance and to the present day. In other types the heart-shaped core is omitted, the scroll taking the form of an "S" with voluted ends, generally seen in confronted pairs, as in the mosaics of the Treasury of the Great Mosque of Damascus, Byzantine work of the 7th century. This form is also encountered at the Treasury in Damascus, having a pair of volutes turned inwards towards the bowl. The form is generally used alone and does not sprout further volutes as generally does the core heart-shaped form.
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The original building on the north was added with a south wing, a moat and a gatehouse, by Elector Frederick I turning it into a fortress. Its present appearance with a high voluted gable was set in 1603 by Johannes Schoch, who redesigned the Zeughaus with an added tower on the south. On 1738 horse stables were built as a western wing. Having served the Electors of the Palatinate from its construction to the abolition of the Electorate, the castle was home, since the 19th century, first to the Royal Bavarian District office and Revenue office, later the District Office of the Bavarian State Amberg District and from 1972 of the District of Amberg-Sulzbach.
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In the Maya area he was approximately equivalent to Kukulkan and Gukumatz, names that also roughly translate as "feathered serpent" in different Mayan languages. Quetzalcoatl, the Aztec god of wind, air, and learning, wears around his neck the "wind breastplate" ehecailacocozcatl, "the spirally voluted wind jewel" made of a conch shell. This talisman was a conch shell cut at the cross-section and was likely worn as a necklace by religious rulers, as such objects have been discovered in burials in archaeological sites throughout Mesoamerica, and potentially symbolized patterns witnessed in hurricanes, dust devils, seashells, and whirlpools, which were elemental forces that had significance in Aztec mythology. Codex drawings pictured both Quetzalcoatl and Xolotl wearing an ehecailacocozcatl around the neck.
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Bernini's St. Peter's baldachin imitates in bronze a cloth canopy above, and thus has some claim to be called a "baldachin", as it always is. A number of other Baroque ciboria, and secular architectural canopies, copied this conceit, for example Santa Maria Maggiore in Rome. The voluted top of the Bernini baldachin was also copied by a number of French architects, often producing structures around an altar with no actual canopy or roof, just columns arrayed in an approximate curve (a "rotunda altar"), with only an architrave and volutes above. Examples are at the churches at Val-de-Grâce (François Mansart and Jacques Lemercier, 1660s) and Saint-Louis-des-Invalides Cathedral (Jules Hardouin Mansart, 1706) in Paris, Angers Cathedral, Verdun Cathedral, Notre-Dame de Mouzon in Mouzon, Saint-Sauveur in Rennes, and the Saint-Sauveur Basilica in Dinan.
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